#and yeah they are indeed a fan of those bands | Explore Tumblr posts and blogs

aois-amaterasu-painting · 1 year ago

Text

Black B- PASS- Special Issue - The GazettE - NINTH Reference book - (part 1 - the 5 members solo interviews)

■ Interviewer: The title "NINTH" is quite simple, which is unexpected for a the GazettE album. Delving deeper, there are various meanings that the number "9" can imply...

RUKI: There might be some underlying meanings (laughs). But for this album, it’s simply just that.

■ Interviewer: Right, I see (laughs). The album doesn't have a unified musical direction, but there are strong emotions throughout. To put it simply, it's a strong feeling of 'We are not dead yet, and we can't afford to die.' Do you think that's a strong sentiment in this album?

RUKI: It's hard to explain in one word... I think a lot of different thoughts come together to form that kind of message. How should I put it. While I'm expressing all of myself, the lyrics overall might have a stronger negative aspect. However, the last track, "UNFINISHED," is relatively more positive.

■ Interviewer: Certainly. The straightforward words in that track were quite surprising.

RUKI: Yes, I wrote it honestly... Not that the other songs aren't honest, but I wanted to make it unembellished.

■ Interviewer: The phrase "You are the light that illuminates the path" was very moving and shocking in its naked honesty.

RUKI: Yes... recently, I haven't used such expressions... indeed.

■ Interviewer: Was there something specific that made you write like this at this time?

RUKI: The timing of making the songs and writing the lyrics was during a very negative period. Usually, I don’t write very positively, but I had a lot of thoughts about myself... I was quite at my limit. So maybe, on the contrary, I found salvation in the songs.

■ Interviewer: Despite everything, you could write these lyrics because you had someone to believe in, and your thoughts turned to continuing your activities towards the future, is that right?

RUKI: Yeah, that's right. But at the time I was writing the lyrics, I was wondering why I was putting myself through such pain… It was that kind of negativity. Revisiting those emotions at this point and reflecting on them again… The peak of it was around "itan" (referring to the series of live performances titled "Boudouku Gudon no Sakura" with the initial concept of Dainippon Itan Geisha). The period right after "DOGMA" ended was the lowest, and it feels like that has continued ever since… It's not as serious as it sounds (laughs). This is just my personal perspective.

■ Interviewer: I see. For example, in "NINTH ODD SMELL," there are specific words scattered throughout that trace the history of the GazettE.

RUKI: The way I wrote the lyrics is similar to "DIM SCENE," which was a song that sang about the album itself. But indeed, "NINTH ODD SMELL" depicts everything from our first album to the present.

■ Interviewer: Writing about the band's history in this way, at this time...

RUKI: It was probably because of "itan." After creating something like "DOGMA," I suggested doing "itan," but I'm usually the type not to touch on the past.

■ Interviewer: Yes, that's true.

RUKI: But I deliberately brought it out... How should I put it... I turned it into a product. I always said I wouldn't do that, but I did. In hindsight, I'm glad we did "itan," and I have no regrets about it, but it changed from the ideal I initially had for myself. The negative feelings about that were overwhelming. To put it bluntly, I did something completely opposite to my 'DOGMA' self, I'm not sure if I can say I was in a state of depression, but I felt like I couldn't see the way forward. I couldn't think of anything that would please the fans more than this, and seeing everyone happy about it made it worse. Even though I should have known better, in retrospect, I had this feeling of "Oh, I've done it."

■ Interviewer: It was indeed a significant event, like breaking a forbidden seal.

RUKI: Yes. That's why I remained in that state until I wrote "Falling." Maybe I overthought it, but it was something I had carefully protected, so I had a lot of thoughts about it. That was the trigger that made me start thinking about various things.

■ Interviewer: Did looking back on the past in "NINTH ODD SMELL" mean you had come to terms with it?

RUKI: No, I had already found closure with "Falling." I intended for "Falling" to be a song where I accept both my past and present self and fall... The lyrics reflect that. Saying I accepted it might not be quite right. The idea that even the parts of myself I dislike exist is a fundamental concept in this album. So, it's not that I dislike the songs or the world of "itan." But there were many parts that I thought shouldn't be, which I had sealed away. This time, I included everything in me… melodies, lyrics, without caring about good or bad. I had the intention to unleash what came to my mind without any restrictions."

■ Interviewer: You removed all boundaries and embraced yourself from any era.

RUKI: So, it's a bit different from the term "returning to the roots," but when I released what was still within me, it took this shape. The lyrics for "NINTH ODD SMELL" flowed quite smoothly, and in a sense, it was the first song for me. After falling with "Falling," "NINTH ODD SMELL" begins.

■ Interviewer: I see. That makes sense why "Falling" was released first.

RUKI: Yes, that's why "Falling" was released first.

■ Interviewer: Ah, that makes perfect sense.

RUKI: Oh, really? I'm glad (laughs). "Falling" is often thought of as a love song. I've also been told it sounds like it's about the fans. But I've already unraveled that before, so the way it sounds is different now.

■ Interviewer: Did you have any anxiety about exposing the emotions inside you without restrictions?

RUKI: Not anymore. Once I decided to reveal myself, my emotions swayed a lot, but I decided to express those swaying emotions as well. So, it was tough (laughs). I expressed what I felt was good, without worrying too much about "DOGMA" or previous works. I just wanted to release everything I had.

■ Interviewer: Did you share those core feelings with the members while making this album?

RUKI: No, I didn't. We generally don't have those kinds of discussions.

■ Interviewer: I see. Regarding the musical aspects, songs like "Uragiru Bero" and "UNFINISHED" might feel fresh to those who have only known the recent the GazettE, while they might evoke nostalgia for those who have followed you from the beginning. Of course, all of them are updated to the current the GazettE's style.

RUKI: Yes. The songs came about naturally. By the way, with "UNFINISHED," I found myself becoming negative while writing it. My mood would drop, and I'd feel like I couldn't finish the lyrics, so I'd take a break and come back to it. I realized how deeply I could get lost in thought.

■ Interviewer: The future-oriented lyrics of "UNFINISHED" seem to have been drawn out by the song itself.

RUKI: That's why that song was created when my mood was more positive. It was one of the earlier songs we made.

■ Interviewer: I see. And the opening track "Falling" and the final track "UNFINISHED" seem to have a direct connection in terms of the lyrical flow.

RUKI: Yes. For me, it's the beginning and the end... or rather, what comes after the end.

■ Interviewer: You fall in "Falling," but it's not the end. In "UNFINISHED," you take someone's hand and walk toward the future.

RUKI: It wasn't made with that much thought. It's just the result of expressing everything I felt. That's why I still can't view it objectively, from a third-party perspective. The lyrics are part of me.

■ Interviewer: So the words here aren't emotions you can yet see from a distance.

RUKI: There are some songs I can see that way, but most of them, no.

■ Interviewer: How long did it take to write the lyrics after "Falling"?

RUKI: About a month, I think. It was faster than usual. During that time, I wrote about what I felt while reflecting on myself, including my emotional fluctuations.

■ Interviewer: As we discussed earlier, by shaping your fluctuating emotions into a piece of work, did you experience any changes within yourself?

RUKI: Hmm... changes... I'm not sure.

■ Interviewer: Did you feel a sense of completion?

RUKI: Yes, perhaps. I pushed myself to my limits, so it was tough, but I felt like I had given everything, almost like I had poured my life into it.

■ Interviewer: But as a vocalist, you'll continue singing these songs moving forward, right?

RUKI: Yes, that's right.

■ Interviewer: How does that feel? Is it like purifying your emotions through singing?

RUKI: Ideally, that's what I'd like it to be. Time plays a part in it too. During this production period, I realized that I can't write about things I don't genuinely feel. I can't lie in my lyrics; they can't be business-like (laughs).

■ Interviewer: (Laughs) You can't write fictional, imaginary stories.

RUKI: It's fine if fans interpret it that way. But when I'm writing, I can't write about things I don't feel. For example, if I'm not thinking about the fans at a particular time, I can't write lyrics that seem like I am, hypothetically speaking. If my feelings change halfway through writing, I scrap it and start over.

■ Interviewer: That's why lyrics that you wrote with the fans in mind probably come across as straightforward and real.

RUKI: I'd like to think so. That's why I avoid giving specific explanations about the lyrics to prevent giving preconceived notions. I didn't like it when artists I liked explained their lyrics in detail. But then, it wouldn't be an interview (laughs).

■ Interviewer: I hope to ask in a way that works well (laughs).

RUKI: I don't intend to write in a twisted way, but it's challenging. For example, even with anger, the intensity of the emotion might differ from just being "annoyed." Especially with "DOGMA," the emotions were intense. Even now, talking about lyrics tends to pull me back into those feelings.

■ Interviewer: I see... it was that deep.

RUKI: It's not a bad thing. During this interview period, I've been feeling that way constantly, but it's not like I'm unwell (laughs). It's probably good to have that side. But with older songs, I can't always recall my feelings from that time. There are songs where I wanted listeners to feel a certain way, such as wistful or sorrowful.

■ Interviewer: So there are lyrics that were written with a specific intention.

RUKI: Some older songs have that. But they are just songs. It's not that I deny them, but when I think about my feelings when I was younger, I feel that I need to acknowledge them, or it becomes painful. There might have been such emotions.

■ Interviewer: Because it's a piece of work.

RUKI: Yes. However, with recent works, listening to them brings back my real feelings from that time vividly. I think that's a good thing for me as a vocalist.

■ Interviewer: To put it simply, the emotions embedded naturally become stronger, making it an even more emotional song.

RUKI: Exactly. I think it's much better than becoming numb (laughs).

■ Interviewer: Rather than just tracing the lyrics.

RUKI: Yes. Although, this can make it a bit dark. Fans who read the interviews get worried. But from an outsider's perspective, band members might think, "Do you really feel that deeply?" I suppose we're more delicate than expected.

■ Interviewer: Also, the charm of print media is that it can convey those real backgrounds and feelings in detail, enhancing what you feel when listening to the work. In the band interviews, the word "natural" was mentioned, but for lyrics, it's not just about that...

RUKI: It's about human touch, I guess.

■ Interviewer: I think so too. The arrangement of the songs gives the impression that the live performance could be completed as it is.

RUKI: From the selection stage, we progressed by filling gaps. We considered what was missing or what we wanted, so it has been in this form from the beginning. So, I think that's why.

■ Interviewer: Did you foresee starting with "Falling" after the SE and ending with "UNFINISHED"?

RUKI: Yes, that's what we aimed for. Also, I think that just listening to "UNFINISHED," the cover art might not quite match (laughs). By the way, "UNFINISHED" was completed around dawn.

■ Interviewer: The environment might also influence the style of the song. Since this song ends with a fade-out, it should conclude in a new form during live performances. I hope it will grow like "TOMORROW NEVER DIES."

RUKI: We didn't intend for "TOMORROW NEVER DIES" to be like that at the time, but it was completed quickly. It might naturally evolve or eventually fade away and stop being performed. However, songs that are born so quickly often have long lifespans.

■ Interviewer: It's not about creating a song to be a touching piece for live performances.

RUKI: Also, I can't create songs with that intention. It would feel like a farce to me. The same goes for live performances. For example, we stopped playing "Miseinen" because it felt like I had to cry every time, even if that wasn't the case. Similarly, we don't play "Wakaremichi" even though we could. For instance, during our 10th-anniversary live, we didn't play it because we said we wouldn't until we disbanded. We're stubborn that way.

■ Interviewer: Is it largely because these are some of the band's earliest songs?

RUKI: No, I don't have any resistance to the songs themselves. I had no issue performing "Sentimental na onigokko." It's not that I dislike them. I just feel they’re a bit youthful. So, I didn't intend to release "Itan" as a standalone video work.

■ Interviewer: I see. Listening to what you've said, it feels meaningful that the live footage of "Boudouku Gudon no Sakura" is included in the "NINTH" LIMITED EDITION BOX.

RUKI: It connects in a way and can be seen in a different light. Including it shows a change in me. It doesn’t fit the world of "NINTH" at all, and I used to be adamant about not including unrelated content, no matter how well it might sell.

■ Interviewer: This is a big change.

RUKI: Yeah... it's not that serious of a topic, though.

■ Interviewer: No, it's natural to have non-negotiable aspects as an artist, especially in a band like the GazettE that has moved forward in its own way.

RUKI: For me, it's not about scolding myself but allowing myself to be seen that way. It's about accepting even the uncool parts of myself. That's why I haven't watched the "Itan" footage even once.

■ Interviewer: Really, you haven't?

RUKI: Usually, the MC parts are edited out, but this time they're included. I barely watched the opening part shown at the "BURST INTO A BLAZE 3" event. I left it untouched, letting it be.

■ Interviewer: It's surprising that you didn't watch the footage even once before it became a product.

RUKI: If I had watched it, I would have easily cut the MC parts (laughs). When we decided to include it in "NINTH," we were already planning to leave the MC uncut, so I thought it was better not to watch. It's not that I hate including the MC parts; I just dislike the act of watching myself in that footage. The visuals and singing are fine, so it's just a matter of mindset.

■ Interviewer: Thinking about it that way, it feels like it has become something even more special.

RUKI: Yes. Now, it has a lot of meaning.

■ Interviewer: The lyrics also reflect your genuine emotions without any disguise, and your time with "Dainippon Itan Geisha" played a part in that...

RUKI: That's also part of me. In the past, I didn't acknowledge that. I used to separate it, like, "That was then, and this is now." I didn't deny my past, but I considered it a separate entity. However, when I reflect on my feelings from when I was younger, I realize it would be painful not to acknowledge them. So, I may have had such emotions. But I hear that vocalists often have such feelings to some extent. Some people are even uncomfortable with their own lyrics. Believing that the present is the best and affirming myself, I've moved forward. While creating the ninth album as RUKI, I decided to expose all my ugly and weak parts. For this ninth work, I wanted to express whatever feelings I had, no matter what they were.

■ Interviewer: I see. There are many aspects that become clear only through such discussions.

RUKI: Yes, although there are parts that you probably don’t need to know.

■ Interviewer: However, knowing the author's thoughts can change the perceived intensity and the depicted scenery.

RUKI: Well, I’m usually in good spirits (laughs). When I talk about these things, the members often say, "What!?" But it's a personal thing.

■ Interviewer: I'm glad to know that this work carries such profound feelings.

RUKI: It’s heavy though (laughs).

■ Interviewer: But it's much better than someone who doesn’t think about anything at all.

RUKI: I used to think I was a person who didn’t think about anything. I was more of a positive thinker. So, it was shocking. I had never fallen this deep before.

■ Interviewer: If you hadn’t done a live under the name "Dainippon Itan Geisha," things might have turned out differently.

RUKI: Most likely, it would still be somewhat "DOGMA"-like. Not that I would have wanted to continue with the sound of "DOGMA" indefinitely. We did it so thoroughly that I was exhausted. If I wanted to make music like that, we already have the "DOGMA" songs. Of course, doing "Itan" didn’t directly lead to the melodies in "NINTH."

■ Interviewer: Right. The direction of your mindset would have been different.

RUKI: Exactly. So, it's somewhat mysterious that we ended up with this kind of album now.

■ Interviewer: Around the time of the release of your previous work "DOGMA," the GazettE had many opportunities to look back on the journey you've taken, such as the "Redefinition Tour," the 13th Anniversary live, and the 15th Anniversary live. What was your mindset before starting the album's production?

Uruha: Really, in these past few years, we've had many projects that involved looking back. Besides what you just mentioned, we also made a ballad best-of album ("TRACES VOL.2," released on March 8, 2017). Reflecting on so much made me realize that I've always been immature as a musician and that I'm still incomplete. Especially when I think about my mindset as a guitarist in the early days, it's at a level where I don't even want to remember it (laughs). The past few years of reflecting have been a period for me to realize that I need to improve more."

■ Interviewer: Your dedication remains unchanged. Amidst such thoughts, you began creating "NINTH," right?

Uruha: Yes. But at that time, we didn't have a clear theme or concept for the album. It was the same with "DOGMA" – RUKI just presented the visual image. This time, it was a picture of a soldier’s face melting, but I couldn't visualize how that would connect musically. In other words, there was no theme or direction when we started making the songs. Having just come out of a period of intense reflection on the past, I personally approached the songwriting process with the question, "Who am I?" in mind. When you keep pushing forward without looking back, sometimes you end up with something that doesn't feel like yourself. I thought that wasn’t good, and if I got too immersed in my current mode, I might overlook my own immaturity. So this time, I wanted to create songs that reflected my core. In that sense, the period of looking back was beneficial.

■ Interviewer: You took a good look at yourself. Listening to the songs you wrote this time, "THE MORTAL" and "BABYLON'S TABOO," it's clear that you like powerful and emotional music.

Uruha: That's definitely true. However, I brought those two songs in fairly late in the production process. So, they weren't born out of the initial inspiration but were created while looking at the trends of the other songs that were already finished. Especially "BABYLON'S TABOO," which was made towards the very end."

■ Interviewer: I see. Let’s start with talking about "THE MORTAL." This song is impressive for its method of utilizing the contrast between heaviness and a sense of floating, as well as its chorus that combines strength and sadness.

Uruha: "While we didn’t have a clear vision of what we wanted the album "NINTH" to be, we all agreed through the production process that an emotional sound is cool. This is important not only in live performances but also in our overall expression. Having that kind of emotional intensity can be a weapon when performing at festivals and such. Bands that lack this intensity don't seem cool to me. It's quite challenging to bring out this intensity, but we wanted to cherish that aspect. We didn’t explicitly decide to go in that direction during meetings, but when we watched live footage together, comments like 'This staging is intense and great' or 'It's emotional' came up often, and that became a sort of positive feedback loop. With that in mind, I created "THE MORTAL" very consciously following that trend."

■ Interviewer: I think many listeners perceive the GazettE as an emotional band. This time, you were especially conscious of that, right?

Uruha: "Yes. There are many bands outside of the visual kei field that have this emotional aspect. Since there are so many, it means there are many listeners who appreciate that style. Also, the emotional quality of visual kei has its own unique appeal, and I feel it's necessary for the GazettE to aim for that. After "DOGMA," I thought that the next thing we should seek is that kind of emotional quality."

■ Interviewer: Indeed, as you gain more experience, your ability to express "wabi-sabi" (aesthetic of beauty in imperfection) increases. When you are young, even if you want to be emotional, it's hard to express it well.

Uruha: "It’s hard to express. For example, there's a certain coolness in being subtle rather than expressing something strongly. If that's not cool, even emphasized expressions become superficial. Although I understood this, I couldn't achieve it well in the past. Either I couldn't be subtle enough, or I became too subdued and boring (laughs). Recently, I feel the urge to refine that contrast even more."

■ Interviewer: It's inspiring to see that with ambition, one can continue to evolve even after 10 or 15 years.

Uruha: "Yes. Now, more than ever, I feel like I've truly found joy. In the early days of the GazettE, it wasn’t as fun as it is now. Back then, I was just playing guitar with all my might, and the only fun part was being in a band. Now, expressing myself through the guitar is enjoyable, and when I can enjoy that, I can enjoy anything."

■ Interviewer: Over a long period, you understand many things. Additionally, the GazettE itself continues to evolve and change, leading to many discoveries.

Uruha: "Through the activities of the GazettE, many doors within myself have opened. The GazettE never stays in one place. The members enjoy discovering new things by challenging themselves, which is why not being satisfied is important. Also, looking back at the GazettE’s history helped me identify my flaws. My uncool aspects (laughs). By examining my roots, I see where I’ve carried that tackiness to my current self (laughs). If I don’t understand that, I can’t get rid of it."

■ Interviewer: But, the parts you feel are negative might be attractive to others.

Uruha: "That could be true. However, I think I should meet my own standards. Instead of using the word 'personality' as an excuse, I want to confront it properly."

■ Interviewer: That sounds like you. We got a bit sidetracked, but could you talk about the other song, "BABYLON'S TABOO"?

Uruha: "In GazettE's live shows, there's always a ballad block. This song was made as a transition piece to return to the intense zone from that ballad block. So, I thought it would be good to have a song that is continuous and elusive, like a one-chord song. "BABYLON'S TABOO" was created because I wanted a complex song that requires various skills to express."

■ Interviewer: Indeed, it turned out to be just that. It also has a subtle ethnic flavor, and it's nice that it's not too obvious.

Uruha: "That’s because the underlying concept wasn’t to bring out that world view. With this kind of musical style, it’s common to use Middle Eastern scales or incorporate sitars, but that’s not where I wanted to go. When I shaped what was inside me, it turned into this kind of song."

■ Interviewer: The continuous guitar riff and congas create a subtle native music feel. The fact that the congas aren’t overly emphasized is also great.

Uruha: "That's hindsight though. Initially, the conga was produced at the same level as the drums, but during the mixing stage, I thought it would be cooler to emphasize the sound of the drum toms. I decided to prioritize downgrading the sequences, thinking they were secondary. This time, I wanted to focus more on the band. Instead of emphasizing the sequence's impression in terms of development, I wanted to showcase the band's pulling power and didn't aim to strengthen the sequence's impact."

■ Interviewer: This work has a stronger band feel, but it’s characterized by songs with a solid worldview, not just driven by momentum or groove.

Uruha: "This time, we were extremely strict in our song selection. It took a while to finalize the selection. We kept creating songs, thinking there must be more, and we meticulously selected the ones we truly believed were the best."

■ Interviewer: The songs are compact and dense, matching the recent trends in the music scene.

Uruha: "It wasn’t intentional; it just happened naturally. Even if the structure is elaborate, we didn’t want long songs. Also, the overall BPM (tempo) feels fast, resulting in many songs around three and a half minutes long."

■ Interviewer: The fact that it happened naturally indicates a sensitivity to the times. Let's talk about the guitar next. What was important for you in terms of the guitar in this production?

Uruha: "We started the production with "Falling." First, we recorded "Falling" and decided to release it digitally. We spent a long time on the pre-production for "Falling," knowing it would set the tone for the album. There was significant debate about the direction we should take. Each member had their own ideas and desires, and when we combined them, it turned out to be too distorted. It was quite challenging to figure out the band’s sound. We used various references to guide us."

■ Interviewer: What direction did you initially want to take?

Uruha: "I originally preferred analog and had always used amps. However, while making "DIVISION" and "DOGMA," I realized that my personal aesthetics and desires as a guitarist didn’t always align with the band's sound. If it didn’t fit the band, it was meaningless. So, I considered what would suit the band and found that the things I had dismissed were actually the right answer. Basically, instead of using amps, I started using simulators to create the sound. Although I had resisted this method, when I tried it with an open mind, it fit well. Initially, I couldn't accept it, so I gradually adopted it. I started with cabinet (amp speaker box) simulators, then tried other things, and my world changed significantly. Things that were difficult before became easier. During live shows, I used to bring my own mics, set up two mics on the cabinet to capture the guitar sound. Despite my efforts, the guitar sound wasn’t heard well from the audience, and it didn’t blend well with the band. I realized I was only thinking I was doing something great without achieving the desired result. The more complex the setup, the less the guitar sound stood out. That led me to go digital."

■ Interviewer: Really? Does that mean the guitar on "NINTH" is mostly line recording?

Uruha: "Yes, not 'mostly,' but entirely line recording."

■ Interviewer: That's... surprising! The guitar on this work has a perfect distance from the ear, not too close nor too far. I thought you had found the ideal microphone arrangement for the cabinet.

Uruha: "That’s not the case. I experimented a lot to get here. Simply switching to digital line recording was really lackluster at first. It was lackluster for a long time. During "DOGMA," I couldn’t decide whether to bring out the amp's qualities or the cabinet simulator feel. But through research, I learned how to overcome the weaknesses of simulation. Now there are various simulators, but you can’t just use them as they are. For instance, I use only the Tube Screamer effect from Line6’s POD, and pair it with a different amp simulator."

■ Interviewer: That’s quite technical (laughs).

Uruha: "Hahaha (laughs). Using multiple simulators required a flexible mindset. For example, the POD has a unique sound; the Tube Screamer effect from POD is different from the real thing. However, that distinctive clinginess is only possible with POD. So, instead of seeing it as a Tube Screamer simulation, I started using it as a drive effect. I believe that if the sound matches my vision, the process doesn’t matter much. During this work, I realized that it's essential to cherish the initial vision for a song. It’s not about what equipment you use but the sound you create."

■ Interviewer: I agree. I think being able to use digital equipment so proficiently comes from all the analog trial and error you went through to get here.

Uruha: "I feel that too. You can’t understand the sound of a real amp unless you’ve actually used one. Even when using digital equipment, in the end, we still seek a sense of authenticity. My current goal is to reach a point where you can’t tell if it’s a simulator or a real amp."

■ Interviewer: The guitar sound on "NINTH" gets very close to that.

Uruha: "I think we got pretty close, but I still feel there's a long way to go. If you don’t feel the paper cone of the speaker vibrating, then it’s not the goal. Mixing and mastering diluted that raw feeling, but the recorded sound was more vivid. So, through this recording process, I learned that it’s necessary to exaggerate certain aspects more."

■ Interviewer: Your dedication to research hasn't changed at all. How about your guitar playing?

Uruha: "The song that was really fun to play was 'BABYLON'S TABOO.' It was full of emotion, and there were times when I played without thinking about anything other than emotion, and I think we recorded a good take. The difficult ones were RUKI’s songs. His riffs are designed by someone who doesn’t play guitar, making them very challenging. They don’t hit the sweet spots that guitarists usually enjoy; they’re quite demanding (laughs). Also, it’s not like he says, ‘I did this casually, make it sound good based on that.’ He wants it just as it is (laughs). So I’d be like, ‘Wait, this part is single notes? I’d use power chords for all of it.’ There’d be weird bends or sudden picking harmonics (laughs). And I’d think, ‘Do I have to do this every time?’ (laughs). RUKI’s songs have a lot of riffs like that, so it took quite a bit of effort to internalize them."

■ Interviewer: So, it's impressive that you don’t say "impossible" to that. In the song written by RUKI, the rough guitar intro of "GUSH" is really cool, isn’t it?

Uruha: "Yeah, that coolness comes from RUKI's strong commitment. I did it quickly on my own and handed it over, but he said the sound quality was different. He wanted it to be more noisy. So I was like, 'Huh, even more?' (laughs). That meant it wasn't just a matter of guitar gain levels anymore; it ended up being crushed with a crusher (an effect that gives strong distortion), like 'There's no choice but to destroy it completely' (laughs). That's how we shaped it."

■ Interviewer: Quite extreme (laughs). The beginning goes punkish, but you're playing mechanical riffs in the interlude, right?

Uruha: "I actually put a lot of effort into those riffs. It had an industrial feel, conveyed only with the image of a whammy (an effect that smoothly changes the pitch of the guitar). RUKI's demo had the guitar going 'wooooon wooooon' only, and he wanted it to sound really good. So I was like, 'Huh?' (laughs). Even with the whammy, the sound just gets lame (laughs). So, after a lot of trial and error, we finally used a ring modulator that produces whammy and octave effects. It's quite simple in terms of what we did, but I think it turned into a riff with a strong impact."

■ Interviewer: That riff has a nuance like a synthesizer, which seems to leverage your use of synths in albums like "DIVISION."

Uruha: "That could be true. Also, when creating sounds for the GazettE's SE, there were many scenes where I destructively broke the sound or made explosive noises. I learned a lot from that, it has expanded my repertoire. Another thing is that stopping recording live amps and doing it through a line allows you to revert when you go too far. That sense of security enables us to boldly try things."

■ Interviewer: From those aspects, one can feel that you've really mastered digital equipment. Another thing, on this album, you handled the mixing for "THE MORTAL," "BABYLON'S TABOO," and also "99.999," right?

Uruha: "Yeah, I started mixing myself because I wanted to figure out how to properly showcase the guitar. If I didn't put myself in the position of an engineer, I couldn't argue or suggest anything to them. There were a lot of things about the mix that I wasn't satisfied with before. Like, I'd think the guitar sound was thin and wanted it thicker, but then they'd say, 'The original recording height...' It was frustrating, you know? I thought, 'I've put in a reasonable amount of effort and used good equipment, so it shouldn't sound thin.' But I lacked knowledge, and it wasn't just about using good equipment. I wanted that assurance, so I decided to mix it myself. However, I've been doing this for quite some time, so it wasn't like I started anew for this album."

■ Interviewer: I see. However, you need knowledge to do mixing work. How did you go about acquiring that?

Uruha: "I'm self-taught. I didn't learn from anyone; I researched and learned on my own. Also, mixing work is somewhat related to creating guitar sounds, so it's similar in feeling. There's a desire to improve the band's sound. So, rather than a major decision, it feels like an extension of creating guitar sounds."

■ Interviewer: You can tell you're a genuine music lover. So, what do you focus on and value when mixing your own tracks?

Uruha: "During this work, I realized that when I mix my own songs, I need to cherish the initial feeling of 'I want this song to be like this' that I had when I first created it. I absolutely hate it when it changes midway and I end up thinking, 'Wait, what kind of song did I want to make again?' I wanted to protect that initial impulse, at least for my own songs. Ultimately, when making a piece of work, the skill of an engineer can greatly influence and change it, sometimes against my wishes. So, I focused on preserving the original feeling when I made the song."

■ Interviewer: I think that's something listeners will really appreciate.

Uruha: "It's the same with live performances—when the PA gets involved, the members' intentions don't always get conveyed accurately. Even if we want to balance things well, sometimes the audience hears it in a skewed way because the PA is working to make their job easier. It’s better if the band can shape the sound themselves. If we understand the difficulty of achieving a good balance live, that's just part of the process. I wanted to know more about these aspects."

■ Interviewer: It seems like your mixes will keep improving. Now, "NINTH" has become an album showcasing new charms of the GazettE. Along with the album release, we’re also looking forward to the tour starting in July.

Uruha: "The album 'NINTH' is a work designed for the tour, packed with things we want to do live. As I mentioned before, it's about bringing out that emotional aspect. I have a clear vision for this kind of live performance, so I think we can start the tour on a strong note. With 'DOGMA,' the goal was to present the image of 'DOGMA' on tour, focusing on what the GazettE would do rather than on myself. This time, I can concentrate on what I want to do individually and what I want to show as a guitarist. I'm really looking forward to delivering that kind of live performance."

■ Interviewer: Around the release of your previous album "DOGMA," the GazettE had many opportunities to reflect on its journey with the "Redefinition tour," the 13th-anniversary live, and the 15th-anniversary live. Did this influence how you felt before starting the new album?

Aoi: "It was quite natural. Looking back at the past, I didn't have a moment where I thought, 'Yes, I'm definitely this kind of guitarist.' Even during the 'redefinition' phase, it wasn't so much about how I was back then but more about the songs and the youthfulness of the band. In that context, I was always working as my current self at the time, so there's no consistent style."

■ Interviewer: So, it's more about providing what the songs and the band need rather than asserting your own style?

Aoi: "Especially recently, yes. Although the other members are like that too, in the past, I was more intense (laughs). I had a strong attachment to staging, certain things were absolutely non-negotiable. Nowadays, we focus more on how to present ourselves as a band rather than as individuals. So, both in staging and playing, I've become more flexible. However, this doesn't mean I can't do what I want. I enjoy various approaches and playing styles. Playing heavy riffs is fun, and so is using crunch tones to bring out the chords. There’s nothing I don’t want to do style-wise. So, I really enjoy playing guitar in the GazettE. Long-time fans might think Aoi has become more subdued lately, but I feel more naturally part of the band now."

■ Interviewer: In long-lasting bands, members often find the right position for themselves. With this mindset, what were your thoughts going into the creation of "NINTH"?

Aoi: "When I listened to the submitted songs, I thought there was a lot of variety again. There were heavy songs, and delicate ones like the seventh track, 'その声は脆く' (Sonokoe wa Moroku). I wasn't confused by the variety; I felt ready to handle any song. I’ve always been something of a jack-of-all-trades, even outside of music (laughs)."

■ Interviewer: Really? I don't see it that way.

Aoi: "Is that so? I feel I can't dive deep into things. Uruha, for example, dives headfirst into things and steadily improves, but I'm not like that."

■ Interviewer: I don't think being versatile is the same as being a jack of all trades. You have your own style, and you're the type who can apply it in various situations, right?

Aoi: "True, I have a core, but everything else is quite broad and shallow (laughs). As a trade-off, though, I can adapt to almost anything. Lately, all the members have become capable of playing guitar, so during the demo stage, the phrases are often already solidified. Still, I make sure to assert myself with the guitar phrases. If I think the demo's guitar phrase is good, I'll reproduce it, but when I change it, I change it completely. Band cohesion is my top priority, but if I feel it's better to expand the demo phrase or the scene, I'll suggest a broader approach. That’s been my stance recently, and it hasn’t changed this time either."

■ Interviewer: That seems like a good approach. When creating songs for the album, what did you focus on?

Aoi: "This time, we didn’t have a specific concept for the album when we started. With "DOGMA," we had a strong concept from the beginning, aiming to create a work that would become like a scripture. But this time, we didn’t have that. RUKI probably had a vague idea of the album, but it wasn’t solidified enough to put into words. So, at first, we just started making songs individually, and various worldviews emerged. When RUKI mentioned a direction for the songs, it wasn’t a motif like in "DOGMA." It was more like, ‘Let’s proceed with this musical style.’ So, we started creating with just that direction in mind (laughs)."

■ Interviewer: Perhaps RUKI wanted to clarify the overall vision of the album by listening to the submitted songs.

Aoi: "Maybe so. That's why this time it didn't feel like a selection meeting in the traditional sense. It was more about building upon the musical direction Ruki had mentioned and choosing the best among what each of us had written. So, it felt like an audition in a way."

■ Interviewer: So, regarding the song Utsusemi, was it chosen from various songs you made, not something you created with a fixed decision?

Aoi: "Yes. I made many songs and proposed them at each selection meeting, but there wasn’t a direct response like, ‘This song is good.’ RUKI created songs with a vision of wanting this one at the end of the album or this one in the middle. He couldn’t see which songs would connect well. As a result, the songs kept piling up without deciding whether to adopt them or not (laughs)."

■ Interviewer: But in the end, you could choose the best from a rich pool of candidate songs. What was your thought process in writing Utsusemi?

Aoi: "This song was one of those created without a clear answer to the need for a mid-album track. I wrote Utsusemi long before I had a clear vision of "NINTH." I was still exploring how to approach it, so personally, I think the songs I made after Utsusemi are more complete, reflecting the atmosphere of "NINTH." But suddenly, RUKI started saying he thought that song I had brought in at the beginning would fit well, and that's how this song got included. That's all good, but when it came to making 'NINTH,' I had thought to avoid making songs of this type. There’s this perception of ‘this is Aoi's position’ (laughs). Even in interviews, it becomes a topic, and I wanted to avoid that. I always create various types of songs, but they often don’t fit and aren’t adopted. In the end, it turned out to be a song like this again this time (laughs)."

■ Interviewer: That’s because your emotional sense is a significant element of the GazettE. Whether Utsusemi is included or not greatly affects the impression of "NINTH."

Aoi: "I hope so. But honestly, I want people to understand that I don't intend to create songs of this position. This time, I came up with the melody myself, but until now, it was Ruki's melodies, so it was like a collaboration with Ruki. It always ends up in that position, like, 'Huh? Again?' (laughs). I want people to know that I also create intense songs, not just songs like Utsusemi. Please make this sentence bold (laughs)."

■ Interviewer: (laughs). Even if it wasn’t your initial intention, “Utsusemi” is an emotional and melodious mid-tempo tune, a truly great song. It also introduces new elements, such as the use of synth riffs.

Aoi: "For this song, RUKI wanted the chorus to feel soft, so I completely reworked the chorus to match the melody. But apart from that, the demo was almost in its final form. The synth riff was in my head from the moment I created the song. The intro and first verse have the synth and guitar in unison. That’s about which phrases to emphasize. I felt that nothing extra was needed and thought there weren't many examples of synth and guitar unison. So, I made them unison, and for the second verse, I harmonized the guitar and synth."

■ Interviewer: The expansive feel in the second verse is exquisite. The guitar solo flows beautifully and is a highlight.

Aoi: "Really? I feel like I could have done more with the solo if I had more time. I was satisfied when I recorded it, but listening to it now, I think it’s a bit rough."

■ Interviewer: I don’t think it’s rough at all.

Aoi: "No, it’s rough. Maybe I feel that way because it’s my own work. It’s not that it’s bad, but I think I could have polished it a bit more."

■ Interviewer: Including the sexy sound with the octaver, it’s a great solo. Speaking of guitars, let’s talk about the guitars on “NINTH.” Did you have any themes for the guitars this time?

Aoi: "We recorded 'Falling' at the end of last year, ahead of the other songs, which served as a pre-production recording for the album. Initially, I played with a sound in mind for the next step, but that expectation was shattered. In a good way… We understood what the band desired in terms of sound."

■ Interviewer: What kind of sound were you aiming for?

Aoi: "DOGMA had a very modern finish. Personally, I’m not very good with modern guitar sounds, so I wanted to bring it back to my own style. But the band was in a modern sound mode. Making a modern sound is easy, but I didn’t want to do the same thing again. So, I thought I’d propose a sound I had in mind. Although it didn’t make it in time for 'Falling,' I started crafting the sound I envisioned using my equipment. It took shape, but I felt it was a bit forced. Not that I disliked the sound, but in the process of adjusting it with various methods and EQ, I realized it would be better to use equipment that naturally produced that sound."

■ Interviewer: Does that mean you used simulators for direct recording?

Aoi: "No, I used a pretty standard setup in an analog way, playing through a cab (speaker box) and miking it. Uruha, on the other hand, created his sound entirely digitally using simulations. I was concerned about the atmosphere and asked him not to stray too far from it. When one person uses digital and the other uses analog, if we don’t consider each other’s sounds, the balance of the two guitars’ atmospheres can become odd."

■ Interviewer: That’s true. So, did you two align your approaches? The result sounds very natural, as if both guitars were recorded in the same manner.

Aoi: "Maybe, but when we made the ballad best (TRACES VOL.2), Uruha packaged the sound he wanted to create entirely through simulation. The difference in atmosphere was very noticeable. So, I wanted to consolidate the band’s overall atmosphere a bit more if he continued using simulators. Even though we used different methods, we discussed wanting to consolidate the band's ambiance a bit more… That's what I talked about. I think Uruha put a lot of effort into his sound creation this time as well."

■ Interviewer: He mentioned that. Still, I’m a bit surprised. The balance seems well-achieved.

Aoi: "When the digital player moves towards analog and the analog player towards digital, it comes together well (laughs). Neither the two guitarists nor the band consciously tried to match the sounds this time. Each of us thought about our own sound, considering how the band would ultimately be heard. Being analog, I lacked the closeness in sound that digital provides. Analog has a sense of space, while digital’s closeness is hard to replicate. Knowing Uruha’s sound would stick to the ears, I aimed for a sound as close to the ear as possible. I insisted on analog because I believe it offers a different power compared to purely digital processing. I wanted to package the feel of air vibrating from the cab. But I didn’t want the digital closeness to overpower the phrases either. That was a conflict, but Uruha left space for both guitars to be heard, which allowed us to blend them well."

■ Interviewer: The proximity of the guitars is perfect. You can clearly hear the nuances of the guitar.

Aoi: "This album feels very raw. 'DOGMA' made the sounds of both of us quite similar, and the album had a lot of mechanical processing to synchronize unison riffs. That was suitable for the world view of 'DOGMA,' but when it came time to create something true to ourselves this time, I thought this kind of roughness was good. After all, it's something humans do, and each person values different aspects of the sound. Packaging that again at this timing is significant for the band. If we erased our individualities, the work would become boring. I believe a band creates something unexpectedly great by clashing individualities."

■ Interviewer: I agree. The advancement of equipment has created an environment where different approaches can be utilized effectively. In the past, you would have been forced to align our methods.

Aoi: "That's right. If one of us had said they wanted to go digital, we would have ended up both going digital for the sake of research. But this time, we didn't do that at all, and I was able to work on my sound independently for the first time in a while. Previously, there was always someone in the studio because we were bringing the two guitars together. But this time, everyone was gone (laughs). REITA, for instance, would say, 'I'm done recording my bass, so I'll take off,' and he’d leave (laughs). He would record his bass from the morning and leave around the best time in the afternoon. I would start when it got dark, just when I wanted to go home (laughs). And I’d be alone (laughs). Recording guitars that way and still managing to bring them together nicely in the end is only possible in this day and age. It would have been impossible in the past, I think."

■ Interviewer: I agree. So, what equipment did you use for the recording of "NINTH"?

Aoi: "I used my signature model from ESP for the guitar. That guitar has a bit of a sharp sound, or you could say it has an edgy tone. It's not typically the sound the members of the GazettE prefer, but it fit well this time. 'NINTH' really captures the current sound of the five of us, which I think is great. By the way, for the 11th track 'ABHOR GOD,' I used the same Dragonfly guitar as Uruha. Although the amps were different, the tonal range of the two guitars matched. If you listen to 'ABHOR GOD' compared to the other tracks knowing that, you'll notice how unified the guitar tones are."

■Interviewer: That’s definitely something to check out. What kind of amps did you use?

Aoi: "When we were recording 'Falling', I talked with the engineer about wanting that kind of sound, so we decided to use the 5150. Marshall amps have a strong high end, so we thought the 5150, with its rich mids, would be better. We rented one to try it out and it sounded great, so we decided to use it. Then, the engineer ended up buying a 5150 (laughs). He said, 'There was a cheap used one available, so I bought it.' We ended up with about three 5150s: an older model, a current one, and a slightly modified one. I liked the early model 5150 the best for its rawness. I don't dislike the modern sound of the current model; it fits better for ballads and vocal songs. But for aggressive tracks, I used the old 5150. So, I mainly used my guitar, and just a few compact effects."

■ Interviewer: You managed to cover a wide range of styles and approaches with simple equipment. How was the guitar playing aspect?

Aoi: "Since many of the songs were written by others, it was overall quite challenging (laughs). Especially the riff work. It's difficult when non-guitarists create riffs. Also, when recording the riffs, I did a lot of punching in (recording in sections), which made playing them through difficult (laughs). The sound would cut off at the punching points, and I’d have to figure out whether the resonance from the previous sound was needed or not. Those things made the riffs challenging."

■ Interviewer: You reproduced the demo riffs faithfully without changing them to suit your style?

Aoi: "I recreated the main riffs. But as I mentioned earlier, it's important to incorporate my own color into the music. So, I first consider what the composer intended with the riff. Does this phrase need to be there or not? I didn't want to remove something they were particular about, which would go against their intent. I carefully thought about these aspects while shaping the phrases. Some parts stayed as in the demo, while others changed. For delicate songs like 'Sonokoe wa Moroku', I wanted to showcase my style. I was particular about those songs, as well as 'Utsusemi. I remember paying close attention to the details."

■ Interviewer: Songs like 'Sonokoe wa Moroku, 'Utsusemi', and 'UNFINISHED' have a precise approach and the guitar's gain (distortion) is just right.

Aoi: "I was very particular about that. Heavy songs are simpler (laughs). It's like, if that song is like this, then this song should be like this too (laughs). But those three songs were seriously meticulous. I hope readers of this interview keep that in mind while listening."

■ Interviewer: You can enjoy not only the solid and heavy guitar sound but also the light guitar charm and the pleasant resonance of the chords. How do you feel now that 'NINTH' is complete?

Aoi: "I really feel relieved that we finished it (laughs). The schedule was cutting it really close, especially in the latter half of the production."

■ Interviewer: Really? But I thought you reduced the number of live performances last year to focus on making the album...

Aoi: "Well, we did start early and made proper progress, but our dear RUKI is the type who, if he has time, wants to obsess over every detail (laughs). So no matter how much time we have, it always ends up being right up to the deadline. But that’s because of his strong sense of responsibility towards the band, so I can’t really tell him to hurry up. It’s like, ‘I’ll wait for you, really’ (laughs)."

■ Interviewer: I see (laughs). What was your impression when you listened to the finished album, considering all that thrill?

Aoi: "I listened to the album in full for the first time during mastering, and as expected, I passed out (laughs). We worked from the day before until midday the next day, and went straight into mastering, so I blacked out (laughs). The next day, I listened to it carefully and, compared to 'DOGMA,' there are some rough parts, but I felt that added to its humanity. It really captured our current, real selves, and I enjoyed listening to it a lot. The excitement I felt was greater than with our last few works. And you know, 'NINTH' is like, 'We're satisfied with it, now what do you all think?' kind of album. It's not like 'Listen to this great album!' It's more like 'This is us, what do you think?' kind of vibe. We've been doing the GazettE for 16 years now, and I think that's just fine."

■ Interviewer: I'm sure the listeners will feel that excitement too. I'm also looking forward to the tour with 'NINTH'.

Aoi: "'DOGMA' was artistic, with a vibe of 'This is our worldview, please listen!' But 'NINTH' shows our real, down-to-earth selves, so I think the live atmosphere will be quite different. The last tour had a strong theatrical element, but I think this tour will be full of live energy. That's the feeling I get, but because we're the GazettE (laughs), you never know until you open the lid. Maybe we won't know until the second day after the first day of the tour (laughs). It was exactly like that with 'DOGMA' (laughs). So, I don’t know what the tour will be like, but I have a good feeling we’ll put on great shows, so I hope everyone looks forward to it."

■ Interviewer: First, I’d like to ask about your approach to the songs on "NINTH." You add accents depending on the style of the song, but do you generally take a position that supports the bottom without standing out too much?

Reita: "Yes, that’s right. I’ve been that kind of bassist for about ten years now. I do move around at key points, but I think that’s what the bass should do. If it were a one-guitar setup, it might have been different. Plus, our vocalist uses a lot of words, and often includes choruses during interludes, I generally play to let other parts shine more. I want to be in the best shape for the song, and if I play with the feeling of wanting to hear my own phrases, I feel like the band wouldn't last long (laughs)."

■ Interviewer: I see (laughs). From the demo stage, do the other members incorporate the bass line with your style in mind?

Reita: "Sometimes it works out that way, and sometimes they tell me that they want me to move more in certain parts that were initially placeholders. I interpret it in my own way, thinking maybe I should support the bottom here or move around a bit there if there’s space. 'Falling' wasn’t moving in the original song either. It’s not that I particularly want to move the bass line, but I don’t mind moving either (laughs). It’s just about finding a balance where the bass stands out in a good way. Of course, I support the parts where the guitar comes in intricately, and I think I’m doing a good job of finding that balance on my own."

■ Interviewer: In songs like 'Uragiru Bero,' we can hear your driving, standout phrasing.

Reita: "Recently, we’ve been doing a lot of unison playing, but 'Uragiru Bero' incorporates the visual kei sensibility that we’re familiar with. The melody line has a bit of an old-fashioned feel, and RUKI wanted that kind of bass vibe too, so I understood what he meant."

■ Interviewer: It's like blending the nostalgic visual kei elements of yesteryears with the current sense of the GazettE.

Reita: "Yeah. I think those who feel this as nostalgic are probably our generation. Teenagers today probably wouldn't find it nostalgic; they might even feel it's an atmosphere they've never experienced."

■ Interviewer: Are there other songs where you've changed your approach?

Reita: "For example, 'THE MORTAL' and 'BABYLON'S TABOO' had different playing styles, using only the thumb to strike. I'm quietly doing various things, but stealing the listener's ears with the bass isn't my thing."

■ Interviewer: Oh really?

Reita: "Yeah. After all, it's all about the song itself... I'm not looking to have a bass battle (laughs)."

■ Interviewer: However, when REITA was a kid, he was excited by bassists who dazzled with flashy phrasing, right?

Reita: "Yeah, that's right. I wanted to copy them... So I think maybe I'm not the type who kids would idolize now (laughs). But, for example, the cool bands abroad that I like these days, their bass lines hardly move. They often create a mass of unison with guitars, and that's what I feel is 'good sound.' If I were playing something completely different from the guitar in an independent manner, it wouldn't resonate as a cohesive sound, and to me, that wouldn't feel like 'good sound.' So, I try to focus on phrases that contribute to what I perceive as 'good sound.' But the challenging part with the GazettE is that even in unison songs, everyone starts arranging things in the chorus, so creating sound becomes difficult. If it were just unison, feeling the bass would be enough, but when you want to hear the phrases, you start to feel the need for a bit more midrange, and that's the difficulty."

■ Interviewer: Tuning has also become lower.

Reita: "Yeah, that's right. So, sometimes I feel there's a contradiction between the sound I want to produce and the phrases I'm playing."

■ Interviewer: Also, the straightforward 8-beat rush in "UNFINISHED" must resonate with your roots.

Reita: "Yes. But I'm sure 'UNFINISHED,' for example, might feel surprisingly placed here now. I've become part of such a band without even realizing it, but in my mind, it's neither surprising nor anything else—it's right at the heart of our roots."

■ Interviewer: I can picture you vividly playing it live.

Reita: "Yes, so the bass phrase moves only in the last chorus, but originally it moved in the first and second choruses as well. But I imagined how it would look on DVD. It might become a song we play as an encore in five years. Like when we used to play 'Shunsetsu no koro.' In such moments, I want to play while looking around rather than being engrossed in playing during the chorus, so I kept the movement only in the last part."

■ Interviewer: Wow, I didn't expect you to think that far ahead!

Reita: "It was more of a feeling that I wanted to strum a bit more. I hope it becomes a song that holds that kind of position."

■ Interviewer: I wanted to ask if 'UNFINISHED' could become a second 'TOMORROW NEVER DIES' for you.

Reita: "Ah, yes, well (laughs). Who knows."

■ Interviewer: It seems quite challenging to surpass a song that has embedded itself so deeply in your heart and undergone rapid growth.

Reita: "Yes, but we have to surpass them, right? There's a song that made me think, 'I can't win with just what I've built up, I have to compete with what I've stacked up. So, we might have to overwrite the old songs for that. But that depends on the tour. It’s about how much we can nurture it during the tour."

■ Interviewer: Also, 'UNFINISHED' feels like it goes by quickly. It leaves you wanting to hear more.

Reita: "Really? Well, the same goes for live performances; it’s better to end just when people want to see a bit more. You don’t want them looking at the clock. Like with movies, if you start checking how much time is left, that movie becomes a failure for me (laughs). 'UNFINISHED' wasn’t intended to stand out or be in a special position; it’s just one of the 12 tracks we naturally created. It was surprising that people focused on this song so much. It made me realize how dark our band had become (laughs)."

■ Interviewer: Hahaha. Fans who've known the GazettE for a long time would understand that you excel in such songs. You carry the pride of visual kei, but there’s no pressure, right?

Reita: "There wasn’t any. But I do feel relieved that I finally got to do this kind of song, though. Well, in the past, there might have been times when we could have done it but deliberately chose not to. If this kind of song is in every album, the impression might get diluted, you know?"

■ Interviewer: So, when you finally draw your sword, does it feel satisfying?

Reita: "Is it satisfying? Well, I won't know until we do it live… (laughs). If it becomes a song that makes everyone emotional when played at the end of an encore in a few years, that would be great. It's not easy to surpass old songs like 'Shunsetsu no koro' or 'Miseinen.' There's a part of me that wants to perform classic songs like my favorite artists do."

■ Interviewer: But, there is also the example of "TOMORROW NEVER DIES" rising up that high.

Reita: "Yes, that's right. So, in the long run, as I mentioned earlier, if it becomes a song positioned for the last encore someday, by then, I think I can relax and perform it. So, for a while, I'll probably play it cool (laughs)."

■ Interviewer: By the way, there was talk about everyone being in their natural element, so did the songwriting process itself happen quickly?

Reita: "No, at the first song selection meeting, we played the songs and everyone listened and went 'Hmm…' and then fell silent… and then there was 'Should we go home today?' kind of feeling."

■ Interviewer: Scary! I wouldn't want to be there (laughs).

Reita: "We didn't even discuss things like 'Should we do it this way?' Maybe everyone was just troubled. So, it didn't come together clearly from the beginning."

■ Interviewer: So, none of the songs from the initial selection remain?

Reita: "No, there's not a single one. The second time, we brought out 'Falling,' and the other songs came even later. My memory is a bit vague, but 'Falling' is the standard that came out after much deliberation."

■ Interviewer: Considering the history of the GazettE, it was a luxury to let people listen to the opening track of the album for free.

Reita: "That's right. Speaking of luxury, we were able to record just this one song in advance, and we spent many days in the studio for pre-production, trying out different sounds and doing a preliminary recording before the actual recording. We experimented with various sounds by changing the pattern of the bass cabinet and line recording, and playing with different basses. So, making the sound for this album wasn't really that hard."

■ Interviewer: Ah, it was because of that timing.

Reita: "Yes. I think it was possible because we spent plenty of time on 'Falling'."

■ Interviewer: As a result, this method proved effective overall. So, recording the bass went smoothly?

Reita: "I can't say definitively… I was the judge myself, so I listened very carefully. I was looking at the waveforms on the screen, and if the volume dropped even slightly due to rough picking, I would redo it. So, it took more time than usual, but the convenience of re-amping outweighed it. If this were in the past, I would have played repeatedly to tweak the knobs for sound creation, and by the time we were ready to record, my fingers would have been a bit swollen. Eliminating these issues allows for a calm judgment of the sound. Also, recording in two different patterns allows flexibility during mixing if we want to make changes."

■ Interviewer: Isn't it difficult to judge by yourself?

Reita: "Well, basically, I've always been the one to judge. In the end, I would let everyone listen and there would be exchanges like 'Wouldn't it be better to do it this way?' But we didn't have a producer telling us what to do. Since I did it alone, I could listen to just the bass part or only the bass and drums as much as I wanted, so I could be thorough. However, compared to before, it feels less like making an album. For example, after playing in the studio and saying 'It's done!' and calling everyone to the lobby to listen together—that kind of thing isn't there anymore."

■ Interviewer: Certainly, those are the charms of being in a band.

Reita: "Also, from this time, we changed engineers, and it was different from the way we had done it for about seven years, which I think was a good change."

■ Interviewer: It was two external people and Uruha, right?

Reita: "Yes. We couldn't have finished in time otherwise (laughs)."

■ Interviewer: So, the work progressed simultaneously?

Reita: "Yes, really. For the mix, it used to be two songs a day. But on the first day, we had to do four songs a day… But somehow it went quite smoothly."

■Interviewer: You found out you can do it if you try.

Reita: "Yes. And if it goes well, we might have the current engineer handle the live sound as a PA. After all, it's better to have someone who understands the sound we want to produce."

■ Interviewer: Someone who stayed up with you all night and accompanied you extensively (laughs). Almost like being of one mind.

Reita: "Yes (laughs). It feels like we have a similar sense… For example, if I say 'this low part,' it's hard to convey in terms of frequency. But if I say 'the growling part'... When I say those things, our understanding aligns quite well. 'Ah, around here?' 'Yes, exactly,' that kind of quick communication.

■ Interviewer: It seems like you had good chemistry with this engineer.

Reita: "Yes. So with 'Uragiru Bero,' the initial mix didn’t quite capture the bass well, but when the engineer took it back and said, 'I'll tweak it a bit,' the next version he brought back didn’t need any further adjustments. It reaffirmed that our senses were indeed similar."

■ Interviewer: These nuances that can’t be conveyed through frequencies are important. How did you manage that in a process primarily involving data exchange?

Reita: "We used LINE to the fullest (laughs). Among the members, we would communicate in abstract terms like ‘a bit more spread out,’ and I would even send handwritten tab sheets via photo. We didn’t use technical jargon, but everyone could understand it, so I guess we’re in sync with each other."

■ Interviewer: Do you use your smartphone for LINE messages?

Reita: "I use both my smartphone and my computer, but mostly my smartphone."

■ Interviewer: On a side note, isn't it challenging to handle such exchanges on a smartphone?

Reita: "Honestly, I’d love to uninstall LINE (laughs). I actually resent the widespread use of smartphones. You can always be reached by anyone, which I really dislike. There are times when you don’t want to be disturbed and need your own time. On a fundamental level, when the phone rings, it makes me really anxious. But we couldn't avoid using it given the time constraints (laughs)."

■ Interviewer: Right (laughs). But it's really painful to type out lengthy replies on a smartphone when bombarded with questions on LINE.

Reita: "I get that. And then, while typing, you get another message, so you have to start over. It’s annoying. I really wanted us to meet in person. We used to gather every week on a specific day, but this time, due to our tight schedules, we had to handle our tasks individually. However, it was worth it because we didn’t have to compromise, and we achieved a lot."

■ Interviewer: Did your previous experiences help in the video production this time as well?

Reita: "Yes. This time, RUKI and I primarily took the lead in making the 'Falling' MV and the promotional video. The promotional video involved a lot of text and effects, while the MV focused on cutting scenes, so it didn’t require as much skill. However, there were so many scenes that we couldn't fit everything in. It’s better to have too much material than too little, so it was a good problem to have."

■ Interviewer: There have been times when there wasn’t enough material, right?

Reita: "Yeah, it was tough when there wasn’t enough. But this time, we had so much material that we had to decide what to cut, and it was hard because we didn't want to cut anything. As a result, the scenes featuring the members might be a bit fewer, which could leave fans wanting more (laughs). However, I think the quality is the best in the history of the GazettE."

■ Interviewer: Yes. And I couldn’t believe you actually blew up a car.

Reita: "In this day and age, it’s great that we could do something like that."

■ Interviewer: When the staff first mentioned that you were going to destroy a car, I thought, "Are you really that kind of American band?" But after watching the video, I understood.

Reita: "Oh, yes, yes. It’s not like we’re making 'Fast and Furious' or anything (laughs)."

■ Interviewer: I’m glad the nuance came across (laughs).

Reita: "RUKI was also working on it simultaneously. He handled most of the editing, and I helped with the parts he couldn't finish, adjusting colors and fixing the shakiness. We worked on the video for about five days. We even stayed up all night for the final member check. We'll probably be making new videos again soon... but for now, I just want to enjoy the completion of the album."

■ Interviewer: Haha. Regarding the tour setlist, do you plan to follow the flow of this album?

Reita: That’s one way to do it, but since there are slightly fewer songs on this album compared to "DOGMA," we’ll include some older songs. I think they’ll blend in seamlessly. Whether we include songs from "DOGMA" or even older tracks, it shouldn’t feel out of place. This will make selecting the setlist quite challenging. With "DOGMA," it was easier because it was clear which songs fit. This time, with the inclusive nature of "NINTH," it’s a lot more difficult.

■ Interviewer: In a band interview, there was a discussion about whether the audience will participate in the chorus for 'ABHOR GOD.'

Reita: "It might be difficult, but I definitely want them to join in (laughs)."

■ Interviewer: Yes (laughs). Personally, 'BREAK ME' came to mind. With its hand claps and chorus, it seemed like an arena rock number meant for audience participation. But it disappeared from the setlist surprisingly quickly. I imagine the live reaction wasn’t what you expected?

Reita: "Yeah, that was tough. Honestly, I thought 'BREAK ME' would be a killer tune. But when we played it, it was like, "Oh…?" (laughs). It disappeared almost immediately. We even tried to hype it up by releasing black balloons during the second performance, but that backfired. It made us realize we weren’t that kind of band (laughs). So we quickly dropped it. But I still really like "BREAK ME." Some fans do too. It might look different now if we performed it, but it probably won’t happen (laughs).

■ Interviewer: You never know how a song will go over live until you try it.

Reita: "Yeah. I was disappointed too. We gave up on it before it could fully develop. There’s a bit of regret, but we’re determined not to let that happen with the new songs.

■ Interviewer: With such a wide range of content, I’m excited to see how each song will unfold live.

Reita: "Yes. 'NINTH' feels like it could be our first album. It shows that the GazettE hasn't discarded anything."

■ Interviewer: Despite not intentionally changing, some people might say they prefer your early or mid-period work.

Reita: "Yes, I understand that feeling. We don’t feel like we’ve changed, but we get comments about how the old stuff was better or how people prefer our early or mid-period work. I understand that sentiment because I’ve felt that way about other bands. But we believe the latest work is the coolest, and we present it as such. If we were to make our first album now, it would likely be this lineup of songs.

■ Interviewer: I see.

Reita: "If this album had a stronger metal smell, people might think we changed after 'DOGMA.' But we make sure not to go in that direction."

■ Interviewer: You’re not a band that wants to stick to just one thing.

Reita: "Exactly. We don't want to be pigeonholed into one genre. As long as our live shows are enjoyable, that's what matters. We wouldn’t release CDs if we didn’t perform live. The album is meant to make our live shows fun. You could even say it’s an excuse to tour (laughs)."

■ Interviewer: After the whirlwind days, are you finally able to take a breather now?

Kai: "Well, I always think that taking a breather at this point is one of my bad habits. Now that the album production is over, I'm thinking if there's anything we've missed for the next step. Usually, I'd relax a bit while imagining the tour, casually considering my practice routines, but now I'm trying to organize everything, checking if the band is missing anything."

■ Interviewer: So you're intentionally keeping the tension high.

Kai: "Yes, I'm organizing the finer details. Not that everyone in the band needs to worry about it; it’s enough if one person thinks about it. There are always a lot of last-minute issues before a tour, so I'm trying to prevent that by planning ahead. It’s just that I'm being extra cautious without any deeper meaning (laughs). I'm trying to delegate tasks early on and have meetings about the stage setup that we usually push back."

■ Interviewer: I see. Regarding the drumming on "NINTH," it seems you had to play with a lot of precision while adapting to the wide variety of songs.

Kai: "Yes. Well, it's nothing new (laughs). Our previous albums also had a variety of songs because we like a diverse balance, so it's natural for different styles to emerge. For each song, I just approach it in a way that fits, and it's not like I opened up a lot of new possibilities. In the band interview, we mentioned how we did the recording and pre-production for 'ABHOR GOD' simultaneously. Basically, while I was creating the phrases, the members were listening and saying things like, 'How about this?' and then we recorded it on the spot. It was like, 'This has a live feel to it,' so we did it at that level. It was a recording where we built on what we had accumulated."

■ Interviewer: It's rare for the GazettE to handle irregular situations like that, but you managed well.

Kai: "If I could have my way, I'd prefer to spend time in the studio as usual, creating phrases instinctively, then thinking them over, communicating with the members, and making adjustments. So, I felt a bit less cautious this time (laughs). Naturally, I wished we could have taken more time."

■ Interviewer: On the other hand, it might have resulted in boldness that you wouldn't usually have.

Kai: "Yes, that might have brought some momentum. We ended up doing what we wanted. Normally, around this time, I’d be a bit tired of listening to the recordings. But now, I still have a pure listener's perspective and am engaging with 'NINTH' as a regular listener. Since the drum parts weren't meticulously crafted through detailed discussions, it feels fresh."

■ Interviewer: So all parts were created simultaneously.

Kai: "Yes. For example, with the tom rolls after the chorus in 'ABHOR GOD,' I thought about whether to make the phrases more structured for live performance or to let it flow more naturally, not too structured. I could only communicate with the members on the spot, and we decided on the latter, making it less structured. The other option was to use only toms, but we included a lot of snare too. But that made the snare parts feel too structured, so we decided against it. I ended up saying, 'I'll just play it roughly,' and when I did, they said, 'That works.'"

■ Interviewer: Although it was necessary, hearing such playstyles now is fresh and exciting for listeners.

Kai: "Yes, though other parts were similar. It wasn’t as rushed, but it was certainly tight. Instead of detailed listening, we quickly judged whether something was good or not. It was judged by the composers, usually, they might ask for specific rolls at certain points, but this time it was more abstract like, 'No, that's not quite right.'"

■ Interviewer: Honestly, it sounds tough (laughs).

Kai: "Well, yes (laughs). And when I tried a different approach, they'd say, 'Yeah, that's fine,' and that would be it."

■ Interviewer: Even though you were working under tight time constraints, there must have been a sense of mutual understanding and trust, like knowing what each other meant without needing to explain everything.

Kai: "Probably (laughs). That was the case with "Utsusemi" that Aoi composed. It required a lot of live drumming nuances that can't be captured by programming. Listening to Aoi, I understood he wanted those ghost notes, volume dynamics, and so on. It wasn't the phrase itself that was an issue but the way it was played. We communicated using programmed data, but it was clear we needed live recording. This level of understanding is a result of our 16 years together."

■ Interviewer: It was a method that worked precisely because of your long experience together.

Kai: "I think so. I wouldn't want to do it this way every time (laughs). But there were good aspects to it."

■ Interviewer: Though the recording process changed significantly, you still recorded the drums traditionally, right?

Kai: "Yes. For me, recording drums at home wouldn’t work."

■ Interviewer: For parts like those in 'UNFINISHED' and the straightforward beats in 'Utsusemi' did you feel more liberated as a drummer?

Kai: "When I first listened to 'UNFINISHED,' I didn't have any issues with the play or the phrases. I felt the same about 'Utsusemi' at first, but the B-melody’s groove was surprisingly tricky. It might seem easy to others, but for me, it was challenging. Musically, I tend to lean towards dotted eighth-note feels, but this time, it was more triplet-based. This created a mental block for me, as I naturally gravitate towards that dotted feel. Trying to swing it slightly made the song sound completely different."

■ Interviewer: Ah, I see.

Kai: "It didn’t fit at all. With the atmospheric arpeggio, my part felt oddly cheerful and out of place (laughs). This kind of difficulty is common with Uruha and Aoi’s songs. But with RUKI’s songs, I don't encounter that as much. It might be due to the different musical roots we've listened to or the fundamental differences in how we perceive rhythm."

■ Interviewer: With Uruha’s compositions, like "THE MORTAL" or "BABYLON'S TABOO."

Kai: "For 'BABYLON'S TABOO,' he brought a drum loop rhythm and said, 'This is the kind of drum feel I want.' The sound was unusual, quite percussive. It was a loop with sounds like roto-toms and a dry kick, not quite live. So, I had to think about how to replicate that feel in live play. Even the cymbals in the loop were very electronic. So, I started by communicating with Uruha. If he wanted a very electronic feel, I thought we might even consider using only pads."

■ Interviewer: I see, that's the approach you took.

Kai: "When we play 'BABYLON'S TABOO' live, I thought it might be better to use a drum pad on the side instead of a traditional drum set, but after talking it over, that wasn’t the image we wanted. So, I interpreted it as needing to rework the drums to fit that atmosphere. The main sound would be live drums, but there were parts where that wouldn't work. For example, after the chorus, Uruha wanted the toms to come through, but the phrase required more than just two arms. So, I decided to keep the live drums for the hi-hat, kick, and snare, but use programming for the toms after the chorus. How to handle this in a live setting is something we'll have to figure out, but it evolved from a very programmed sound to its current form."

■ Interviewer: I see. "BABYLON'S TABOO" has a seductive, ritualistic mood.

Kai: "When we were selecting songs, we specifically asked Uruha to compose a song with this feel. We thought this was Uruha's forte, and we asked him for a song that doesn’t fully climax. That’s how this song was created."

■ Interviewer: A song that intentionally doesn’t fully climax—interesting.

Kai: "Yes. Everyone understood that keyword, so I created my phrases to align with that. Similar to 'ABHOR GOD,' the idea was to bring out a nostalgic feel. I'm not sure if this is the right word, but I aimed for something beyond what words can describe."

■ Interviewer: While you show a low, grounded groove, "Uragiru Bero" features a fast beat, reminiscent of your early indie days.

Kai: "That's right. When I listen to music by younger bands, including those overseas, I often find them really skillful and impressive in terms of how many tricks they have up their sleeves. In that context, I don't have a wide variety of drum patterns, and as I said earlier, I don't deliberately try to expand my repertoire. But the GazettE has done various types of songs over the years, and I’ve adapted to them. My stance has always been to do whatever I can, and 'Uragiru Bero' is one of those tracks. If we were to do something like bossa nova or blues, then I’d think about expanding my repertoire (laughs)."

■ Interviewer: That’s hard to imagine (laughs).

Kai: "Haha! My goal is always to match the composer’s image as closely as possible, and if I can, surpass their expectations. I wish we had more time, but even if we did, I don't think the songs would have changed significantly. In the latter half of the recording, we worked on some tracks without vocals, but we have absolute trust in each other. Even if I couldn’t imagine the vocals, I knew they’d be great, so it was something to look forward to."

■ Interviewer: So, have you been listening to the finished product a lot?

Kai: "Recently, I've been listening to it constantly."

■ Interviewer: Since the final version took longer to come together, does it feel fresher than usual?

Kai: "Usually, by this time, I’m a bit tired of listening to the tracks repeatedly. I’d be listening with a more critical ear, thinking about how to perform certain parts live. But now, I’m still approaching 'NINTH' as a pure listener."

■ Interviewer: It’s your first original album since "DOGMA." Did the experience of making "TRACES VOL.2," which involved a lot of work from the members themselves, influence this album?

Kai: "Well, let’s see... not really. The recording process for that was very unique, so it didn’t affect me much. However, Uruha did all the engineering for 'TRACES VOL.2,' and that experience led him to want to handle some engineering himself this time (he engineered '99.999,' 'THE MORTAL,' and 'BABYLON'S TABOO')."

■ Interviewer: So, did revisiting your older songs from the "Dainippon Itangeisha" era during live performances provide any inspiration?

Kai: "It’s less about the specific songs and more about the phrases. It’s like, ‘Oh, we used to do stuff like this,’ so there might be some influence in that sense. I didn’t set out to reflect anything specific from those songs in the new album, but organizing live events like 'Boudouku Gudon no Sakura' and 'BURST INTO A BLAZE 3' brought back nostalgic tracks that we performed live… so that process might have influenced some of the phrases."

■ Interviewer: It must have been somewhat stimulating to revisit those early impulses that you might not be able to capture now.

Kai: "Yeah, when we play them now, the way we perceive the sounds is different. There are phrases where I think, ‘Oh, this is nice,’ and it’s hard to explain, but there’s a sense of timing unique to that period."

■ Interviewer: Timing, you say.

Kai: "Yes. The spacing between phrases, the way we handled the ‘ma’ (space), I found it to be quite good upon revisiting. It's probably at an unconscious level rather than something deliberate."

■ Interviewer: Those live performances were special, and I’m sure they left an impression. Many fans likely saw those songs as sealed away.

Kai: "As a band, we’ve always looked back to some extent. Not in a negative way, but we believe that the present is built on past experiences, so it’s impossible not to reflect on the past. Whether we show it straightforwardly or in a different mode varies, but we do reflect on it. But I was a bit surprised when Ruki suggested ''Boudouku Gudon no Sakura"."

■ Interviewer: That period was considered separate, right?

Kai: "Yes… exactly. It was an idea that went beyond what we understood up to that point. It was like, 'We're going that far?' I was surprised, but when we actually did it, it didn't seem so strange. So, in various ways, we've been reflecting on our past. At the same time, we have a fundamental desire to look forward and create new things. The GazettE is a band that can't neglect its past. There are some artists who can completely cut off their past and say, 'This is what I want to do now,' and I think that's a valid approach. They might have said something in the past but now say it doesn't matter anymore, but I don’t think that’s possible for the GazettE."

■ Interviewer: That’s partly because the GazettE is a band that has grown from the indie scene and carries the sentiments of the fans who have walked with you all this time.

Kai: "Of course, that's a big part of it. We pride ourselves on being a live band, so each song is directly connected to our live performances. While we fundamentally want to keep looking forward and creating new things, we are a band that can't neglect our past. It's not just about us; it's a space that only exists because there are people who empathize with us and appreciate us. Essentially, we're not just a recording band. That's why we have an inseparable relationship with our fans."

■ Interviewer: The creation process for this album has evolved, but it seems that the GazettE still retains its old-school mindset. RUKI often describes it as having a “gritty” quality.

"Exactly. We've really remained unchanged since the old days. This time, the album is simply our ninth one, hence the title 'NINTH.' For the GazettE, that simplicity is actually quite surprising, I think (laughs)."

■ Interviewer: Indeed (laughs).

Kai: "For us, it’s a very natural progression."

■ Interviewer: In terms of essence, it feels similar to when you made 'BEAUTIFUL DEFORMITY,' where you returned to the GazettE's roots.

Kai: "Ah… that one didn't have a grand concept either, and the content wasn't biased; it had various songs. It was a quintessential GazettE album at that time. Certainly, it's a similar work. For albums with a more defined direction or concept, there’s 'DIVISION' and 'DOGMA'... and also 'DIM.' Well, 'DIM' ended up being what it was. That atmosphere... (laughs). It’s not negative, but it strongly reflected our state at the time. 'DOGMA' was deliberately made with a specific concept, and 'DIVISION' was a conceptual album aimed at blending styles with a digital taste. Looking back, those albums are rather unique."

■ Interviewer: The conceptual nature of 'DOGMA' and 'DIVISION' often makes them seem like the main essence of the GazettE.

Kai: "Yes. But if you take a step back, you should realize that the GazettE does many different things. Actually, there's another core principle that we stick to."

■ Interviewer: I think 'NINTH' is an album that reaffirms that.

Kai: "Yes. But I totally understand the sentiment. Even I was searching for a concept for this album at first, before 'Falling' was created. When we were making the promotional videos, I was looking for something that would define the next album. So when 'NINTH' became the official title, it felt very right to me."

■ Interviewer: Yes, I also searched for various interpretations of the album title.

Kai: "Right (laughs). Looking back now, 'BEAUTIFUL DEFORMITY' definitely happened because of 'DIVISION,' and 'NINTH' is happening because of 'DOGMA'… Each experience we've had creates its own unique color, so it naturally reflects the essence of that time. For instance, if we had released something like 'BEAUTIFUL DEFORMITY' right after 'DIVISION,' following 'DOGMA,' I think this 'NINTH' would have been a completely different album. That’s very GazettE-like, not disregarding the past. After releasing 'DOGMA,' we wanted to release a ballad best-of album. Normally, people might think, 'A ballad best-of album? That’s impossible.' But because it came after 'DOGMA,' it made sense. 'Oh, I kind of want to listen to that,' you know (laughs)."

■ Interviewer: Your body must have been craving it (laughs).

Kai: "Exactly. The reason 'NINTH' took this shape is because it came after such a conceptual project."

■ Interviewer: The GazettE is a band that does what they like freely at any given moment.

Kai: "Yes, that’s the main principle. Basically, no one wants to do things they don’t like. I think all artists share that at a fundamental level."

■ Interviewer: Releasing 'NINTH' now and looking back at the flow of everything so far, it feels like the essence of this band has become clearer than ever.

Kai: "In that sense, this album should be very easy for fans to embrace. I hope they listen to it without any preconceived notions."

■ Interviewer: Moreover, I think people who have only had a vague impression of the GazettE until now might also take this opportunity to get to know them through this work.

Kai: "Yes, I think so too. When you look at the artwork of this album, you can feel the atmosphere and imagine various things. While it retains that GazettE-like essence, I hope people can listen to 'NINTH' with a fresh perspective, free from preconceived notions, and feel it as the latest album from the GazettE."

#the gazette #ninth #interview translations #ninth reference book #babylon #scans #mi

47 notes · View notes

darklydeliciousdesires · 1 year ago

Text

Sky Full of Stars - An Adrien Brody/Jade Burton (OC) Story.

Lord help me, besties. We're starting this, and we're starting it now because I cannot wait to reveal it to you! I did say I wouldn't write RPF again as it feels too personal a line to cross, so please bear in mind that while I have tried to remain true to who Adrien appears to be, he is a little fictionalised, too. The same goes for his family and friends as well. I have created them as OC's because it feels much too intrusive to his life to write them otherwise.

Well, the first chapter is mammoth, so please do make sure you're sitting comfortably with a drink and some snacky snacks before you embark. I cannot wait to hear your thoughts!

A huge thank you again to my beautiful @jemmalynette for the lovely photo manip she created for me, and to Angelina Jolie for serving as Jade's face claim! If you want to know Jade's voice claim a little better, here. This is the scream she hit Adrien with upon first meeting him! - https://www.youtube.com/watch?v=a98LI-arNS4

Tag list - In the comments

Words - 5,614

Warnings - 18+ content throughout. Minors DNI!

“Tell us something about your wife that people would find surprising.”

He mulls it over for a few seconds, looking to his side at her, laughing as he takes in her raised eyebrows. “She’s actually quite introverted, unless she knows the people she’s with well. Then her volume and mischief amp up considerably,” he begins, which I must say is perhaps the last thing I expected him to reply with. “No, no. It’s completely true, she is. She’s often quiet, an extreme juxtapose for how she appears up on stage with a microphone in her hand, but yeah. The Jade you see performing live is a completely different entity to the woman she is away from it, and I found that out pretty quickly after we first met.”

It is a stark contrast to the public persona of Jade Burton-Brody, a woman known for rarely shying away from being outspoken and controversial, whether it be her fiercely penned lyrics, or her opinions on the subject matters she holds dear. She was, after all, the woman who advised legions of young female rock fans to, and I quote, “Burn the patriarchy to the goddamned ground.”

Before me today, though, I do see a much softer side to the screaming hurricane of a woman I familiarised myself with through the scouring of YouTube videos, a woman more than happy to let her husband lead in the questions, always looking to him to reply first. She has spoken in the past of him being her unequivocal strength and support, and I take her back to that, the moment she first met the man she would marry just six months after their first meeting.

“Jade, you’ve spoken about your first meeting a couple of times in the past, but for the record, would you care to share it again?”

She laughs loudly at my question, leaning into her husband a little, combing her fingers through her hair as she remembers fifteen years into the past. “I screamed in his face, he liked it, and the rest is history.”

Indeed, such a meeting did seal itself into history, the moment the iconic pair met captured by a photographer pointing his camera in the right direction at exactly the right time, immortalising the moment where the formidable first lady of metal took to the barriers at the Rock and Iron festival, grabbed the hand of the Hollywood heavyweight, and proceeded to scream like a harpy about an inch from his face. “She blew my eardrums out,” Adrien speaks of the moment, “I had never heard anything that loud in the whole of my life!”

Indeed, like it he did, the first stages of their fledgling relationship captured on film while a documentary team were following her and the band, shooting the footage for the 2010 documentary, “The Devil you Don’t Know.” As the footage shows, the actor found himself with a rare two week break between projects, one of those weeks spent living on a tour bus with the band, unwilling to be parted from the woman he’d struck up such an immediate connection with.

“I called my manager and told her to shift all my interviews to telephone, rearranged everything for the following week before I flew out to Hawaii to begin shooting Predators, and yeah, lived on a bus with five insane, but adorable women for seven days.” He smiles a little shyly, his eyes warm as he views her. “Didn’t want to let her go.”

When asked if it was love at first sight, he elaborates a little further. “I’ve never believed in that. Too many components have to fall into place for love to bloom, so I don’t think it can be so spontaneous as to simply view somebody and feel such a powerful emotion right off the bat. After that week I spent with her, though. Yeah. I departed from the tour knowing I’d left behind the girl I was going to marry someday.”

And for Jade? “I knew. He was my person. Still is fifteen years on, too.”

Just viewing the natural ease the couple have around one another cements that, after battling with so much over their years together. They both freely admit they rarely saw one another for the first two years of their marriage, their relationship plagued by media scrutiny, storms of paparazzi, accusations of their romance serving purely as a manufactured PR pairing for publicity, others stating that it was to give Jade greater leverage as she further embarked upon her acting career away from the world of music. One only has to watch the woman on screen to see that she carries enough weight from her own talents to not need the bolstering of her husband’s surname to snare her hard-earned successes.

Indeed, the pair have weathered many storms and come through them stronger, standing as one of Hollywood’s most illimitable power couples, yet the term is somewhat lost on them both. “We’re complete dorks,” Jade laughs, “we really are. We set one another off all the time being absolutely ridiculous.”

“It’s true,” her husband confirms, beginning to chuckle right on cue. “Nobody makes me laugh like her. It’s so corny, but truly, she’s my best friend. Deciding to get on that bus fifteen years ago was one of the greatest decisions I ever made.”

It can be witnessed quite easily, too. It takes only a few glimpses into their respective social media accounts to see the humorous ease they tease one another with, but always with incredible affection. ‘Baby love! <3 Love you too, Morticia!’ Adrien commented on a heartfelt post his wife recently shared to Instagram, a throwback picture of the pair kissing at the 2016 Oscar’s ceremony, where his beloved won best supporting actress for her role across from Robert De Niro in the 2016 blockbuster, Five Marked Men.

“It took him about a month to get over me with black hair instead of blonde, so I was Morticia for four straight weeks instead of Jade!” she laughs, obviously taking his teasing with good humour.

“I was so damned proud of her, even though I couldn’t get used to the black hair,” he laughs taking her hand in his. “Always have been. She’s incredible.”

And truly? Adrien wasn’t wrong in what he stated about boarding that tour bus in the interview for a very well-known media outlet, who had come to their home for a rare glimpse into their private life together. Yet for Jade, it began much earlier than that, at a time when perhaps she was least willing to hear what her future had in store for her.

San Luis Obispo, CA, 2007.

“Come on, Skippy. No dragging those feet.”

Jade did nothing to conceal the force of her huff, pulling back from the beachfront steps of the home she was being dragged to by the enthusiastic, blonde whirlwind that was her closest friend and drummer in their band. Jen had always put a lot of faith in psychics, Jade not so much at all, living in a world of regret at agreeing from sheer relentless nagging only to go and have her tealeaves read.

“You have to stop calling me Skippy. One day, this day, actually. Enough!”

Jen grinned, a flash of bright white teeth widening her mouth. “Maybe when you don’t make clicking noises like the little kangaroo in your sleep, I might.” Skippy or Skip, it had been her much-begrudged nickname since they’d struck up a friendship as teenagers upon Jade’s arrival from the UK to America.

Entering the home, they were greeted warmly by Cerise, the lady of the tealeaves, tarot cards and all things mystic, Jade politely giving her a little hug before they seated themselves at the large, round table. All around, large canvasses ode to the divine and spiritual covered the walls, candles flickering, incense burning, casting strong plumes of eastern fragrance into the air.

“Her first!” Jen spoke enthusiastically as the tea was poured, drumming her hands rapidly off the table.

Cerise jerked her head to the left, viewing Jade with a warm smile. “She’s always tapping, this one, isn’t she?”

“Typical drummer,” she confirmed, winking at her as Cerise went about her tea preparation, the women making pleasant chit chat as the brew was drank.

“Now, you don’t have to tell me anything, darling. I’m not one of those charlatans who cold reads situations to feed it back to you. What I see, I see it without being told anything from the person I’m reading from.” She truly doubted the validity of that, but nodded politely, passing her cup into Cerise’s outstretched hand. “I sometimes get extra information from my spirits as well, so if they have anything, they’ll pipe up. They usually do.” Staring into the cup, she began studying the pattern of the grainy tea, humming to herself. “The man you’re with right now? He isn’t the one. It’ll be the one after him.”

Immediately, Jade found herself feeling prickled on the inside, mildly incensed that anyone would say that the man she’d spent three years with happily would not end up as the one she would stay so blissfully in love with. How dare she even suggest!

She wouldn’t unleash that indignance, though. “How can you tell?”

“Trust me, darling. I can tell. Oh, my spirits are in good voice, hold on.” Closing her eyes, she appeared as if she was listening, shaking her head and waving her hands. “One at a time, for the love of...” Jade’s face of utter disbelief earned her a soft foot to the shin beneath the table, Jen tightening her lips and widening her eyes. Cerise nodded, humming in confirmation before casting her eyes back to the cup. “Okay, I have more information. The man you’ll end up with, well you’ll know for sure when you meet him, sweetheart. You’ll scream at him. He also has the same name as your dog.”

“I beg your pardon?” Jade coughed, her beloved Great Dane appearing in her mind’s eye. “I’m meeting someone called Brodie, who I’ll scream at? Right. Okay.”

“He’ll spell it differently, darling. Oh, and his eyes. You’ll love his eyes, because you will never have seen green like them before. Yes, most certainly, he is the man who will come into your life and never leave it.”

She had to bite her cheek to prevent herself from laughing. “Alright. Thank you.”

While a much more willing Jen had her tealeaves read, Jade went outside for a cigarette, calling her boyfriend to relay the ridiculous message she’d just been given.

“Um, she said what?” Ivan snorted, his laugh booming down the phone. “Uh-uh, no fucking way. Like I’d ever let you go.”

The Russian born, but American raised Ivan Kuznetsov had been her absolute everything since meeting him three years previously, watching him win his bout at a UFC fight in Las Vegas. Because of their schedules, Jade and her seemingly endless long hauls of touring, also parlaying her talents into the acting world, and Ivan locked in rigorous training, they didn’t see as much of one another as they’d have liked, but they made it work.

Until they didn’t. Until it broke, or rather, until he and his famously ferocious temper broke it completely, almost twelve months on from the tealeaves message she’d received, and quickly forgotten all about. She’d have been lying if she’d claimed she hadn’t seen the red flags, Ivan’s steroid use growing completely out of control, cheating urine tests in order to keep juicing, growing ever bigger through the use of the banned substance. It wasn’t just his muscles and performance that had dramatically grown. So had his temper.

Roid rage, they called it. It was never something she thought she would bear witness to, until she found herself on his kitchen floor, being throttled and punched, her only saviour her dog, the Great Dane bitch jumping on his back and sinking her teeth into the meat of his trapezius at seeing her human being so viciously beaten.

The combined effort of a valiant rescue dog and a woman determined not to die at her fiancé's hands got him off of her, Jade grabbing Brodie’s collar and her bag as she ran from the house, dived into her car and drove away as quickly as she could.

She never returned.

Ivan was arrested and subsequently charged for the sickening assault that disgraced his name in the sporting world, discharged from the UFC and sent away to serve a five-year prison sentence. It was a pitiful excuse for justice, especially when he’d probably be freed after three if he behaved himself. Jade knew the outcome likely wouldn’t see him put away for any longer, as she’d been advised by her legal team prior to giving evidence at the trial. Domestic violence victims rarely did receive the adequate recompense where the punishment of their abuser was concerned.

A victim. It was a role she’d sworn never to play, speaking on the event many months afterwards. “I am not his victim. I’m the one who had the sense to get away as soon as he raised a hand to me. There’s nothing that correlates to victimhood there.”

Some doubted her stance, thinking her to be in denial over it, claiming she needed to seek therapy to get herself through her ordeal. In Jade’s mind, her therapy was her music, one of the tracks from her band’s seventh album, entitled Nomad, serving as cathartic release over the attack. It also got her through the passing of her beloved Brodie, the dog dying at the grand old age of eleven six months after she’d parted ways with Ivan. It was almost unheard of for the breed to reach such an age, and if Jade was thankful for anything, it was having an extra three unexpected years with her faithful old girl.

She felt lonely if she let herself sit still for long enough, so kept busy through the machine that was her life, driving her from movie set to stage to recording studio, long hours and hard work elevating her status in both worlds, her band, Seventh Gate releasing Nomad to a huge success and taking to the road in early two thousand and nine, complete with a stint moving from one summer festival to the next.

One such date upon that stint was the Rock and Iron show, something all the girls in the band had been looking forward to playing. It had been a longstanding one-day festival held in California for the past eleven years, the band playing it a couple of times before on the smaller stage.

This time, though, playing the prime afternoon spot of 3pm-4pm, they walked out on the main stage at the open-air show to eighty thousand screaming rock fans, Jade feeling sick with nerves, as usual. It didn’t matter an ounce that the rock press hailed her as the first lady of metal, who praised her huge vocal range and coined her as one of the first to combine both powerful, clean vocals and blistering, guttural roars. She still felt like her legs were about to give way every time she climbed the steps and walked across the stage, ready to view her kingdom.

Or queendom, as it was. Because to the thousands of people who cheered at the sight of her, she was their monarch. Some viewed her a little differently.

“Oh man, there she is!” Lewis piped up, clapping his hands above his head. “There’s god!”

Adrien turned to view him with mild incredulity, shaking his head. “Man, you’re something else with this fanboy thing you have going on.” Whatever he might have followed that with was obliterated by the noise that came from the speakers, the roar of guitars, drums like canons, and a scream that sounded like something he could only liken to a creature being spat up from hell for being too aggressive. “Damn. She’s got some pipes.”

Lewis didn’t reply, too busy getting into the first song of their set, Adrien feeling himself furtherly crushed right up against the barrier. He was trying to have a good time, he truly was, but metal wasn’t really where it was at for him. A die-hard hip-hop connoisseur, being dragged to an open-air rock and metal festival hadn’t been his idea, but Lewis’s girlfriend had bailed on him, quite literally, ending their relationship just one month prior. Conveniently, he had a rare two weeks off work, so had allowed his friend to talk him into it.

As his chest was shunted hard against the barrier for what felt like the four hundredth time that afternoon, he once again sorely regretted it. However, looking up at the stage, he couldn’t help but view the women performing upon it with genuine curiosity. They were perhaps the tightest in sound of anyone he’d seen that day, their energy enigmatic, especially the swagger exuded from their front woman.

She was like a supernova personified, commanding a crowd of thousands, her presence much larger than the tall, yet slight frame it inhabited. Although the music wasn’t to his taste, he had to admit she impressed him, having the vocal range that allowed her to sing powerfully delivered harmonies one minute, and roars that sounded not of his earth the next. Her talent completely blew him away.

Also, her adoration for her fans was clear, sending the security into a frenzy when she jumped down off the stage between songs, embracing a few people reaching for her on the front row as the next song began to filter through the wall of speakers. The crowd screamed along with the opening lyrics, Adrien watching as suddenly, the blonde whirlwind strode in his direction at speed, jumping onto the barrier, grabbing his hand, and bellowing out a scream a mere inch from his face. He laughed, Lewis nearly fainted, and Jade winked at him before she was gone again in a blink, returning to the stage.

“Do you know how goddamned lucky you are? Dude!” Lewis yelled, mouth hanging open. “Dude! God just screamed right in your face!”

Adrien continued to chuckle, looking up at the stage. “Yeah,” he spoke, his heart fluttering, “guess she did.” While her music mightn't have been to his taste, seeing her so close up, he had to admit the way she looked definitely was. God, she was sexy. Very, very sexy “I think she blew my fucking eardrums out!”

Lewis was in fits at his assertion, clapping him on the back before continuing to enjoy the show. At the next break between songs, Jade found herself beckoned for by Katie, their lead guitarist, her eyes wide as she jumped up and down with her usual zany energy. “Bro! You just screamed in Adrien Brody’s face!”

“Who?”

“Adrien fucking Brody! The actor!”

Jade was still none the wiser. “The hot guy with the dark hair?”

“Yes!”

“What’s he been in?”

Katie could have slapped her. “Um, only your mom’s favourite movie.”

Finally, the penny dropped. “Oh shit, the guy from The Pianist?”

“Yes!”

“That’s him?”

“Yes, you massively blind douche! God damnit, you never know who anybody is!”

Her eyes almost came out on stalks for not actually recognising him.

“Oh my god!” Having a very large crowd to entertain, she couldn’t say anything further on the subject, but she kept her eye on him for the rest of their set, calling over one of their roadies a couple of songs later as she ran to the side of the stage to grab her flask of herbal tea. “I take it you know who Adrien Brody is, right?” she asked, letting the herbal brew sink down her throat and coat it in an effort to not feel like she’d swallowed a chainsaw.

Sunni smirked, stroking his beard. “Yeah, boss. The guy whose face you screamed in.”

“Give him and whoever he’s with backstage passes. I wanna meet him.” She watched as Sunni scuttled off to go and locate a few of the prized lanyards that gave people access to the coveted backstage area, before launching into the next song. Out of the corner of her eye, she was able to see Adrien and the guy with the blonde hair he was with jump the barrier, being escorted stage right to watch the remainder of their set from the wings, along with the rest of the Seventh Gate road crew.

While there, they were approached by a woman who introduced herself as Hazel Bernstein, the tour manager for the band, asking since they were currently being filmed for a documentary about Jade’s life and career if they minded being on camera. They confirmed that no, they didn’t mind at all, Hazel having them sign a couple of release forms before another member of the crew ushered them backstage.

The area was made up of large tents dotted around for each band to reside in before and after their performances, the guys shown in and furnished with beers as they sat down on one of the couches provided.

Adrien looked to his side, watching Lewis as his eyes darted around. “You look edgy, man.”

“I’m about to meet one of my favourite bands, and I don’t even have a fucking clue what the hell to say to them!” he exclaimed, gulping back his beer.

He couldn’t help himself. “Hello might be a good place to start.”

“Noted, Captain Sarcastic.” Looking at him, he burst into a snorting fit of laughter, wishing he had a fraction of his very famous friend’s effortless cool. Alas, he did not. The first of the women through the tent made his mouth drop open, Katie going to the cooler and pulling herself out a bottle of bourbon, emptying an eye watering amount into an ice-filled red solo cup before she came right on over.

“Hi guys! How you doing, you having a good time? Damn, it’s fucking hot, right?” She talked rapidly, like a machine gun going off, shaking their hands with the exact same enthusiasm she spoke with, Lewis looking like he was about to burst.

“Katie Gilmore, just coming over, shaking my hand, asking how I am, like I’m fucking anyone at all,” he spoke in a daze of disbelief, Adrien shaking his head.

“Ignore him, he’s a little... yeah.”

She chuckled, lifting her cup to him. “And you’re one helluva actor, my guy. I could be obvious and praise you to hell for The Pianist, because damn, that movie was outstanding, but I fucking adored you in Summer of Sam! You make a cute punk, bro!”

“Thank you,” he smiled graciously, “and in turn, you’re a hell of a guitarist. I don’t know much about rock or metal, but you make what I guess is real difficult look incredibly easy.”

They were then joined by the force of nature that was Jen, the band’s drummer, the tall, rail thin blonde approaching, pointing at Adrien. “Can I sit on your lap and get a picture with you, dude?”

He smiled, patting his black denim covered thighs. “Sure, hop on.”

“Billy!” she roared, moving to throw herself down, “get over here and do the clicky, clicky!” A man holding a professional camera ambled over, Jen smiling as she wrapped her arms around him, and then promptly licked his cheek. “Man, you taste delicious!” she shouted, Adrien laughing, a little taken aback at her brash behaviour, but somehow quite charmed all the same. “What is that?”

“Sweat and beer,” he confirmed, Jen throwing her head back and roaring before she got up.

“My favourite things! See you guys later, I gotta go see some other people!” Sweat and beer, also cocaine, if her eyes were anything to go by. He knew high as hell when he saw it.

“Hey, you boys like tequila? I got a load in the cooler, let’s get some shots in, huh?” Katie spoke, grabbing a hand a piece and hauling them up. There, they were introduced to rhythm guitarist Charlotte, who was much, much quieter than the other members of the band they’d met so far, very reserved and polite. Still, Lewis was firmly stuck in starstruck mode, trying hard to find some semblance of cool, but losing it completely.

And then she walked on over.

“Hi,” she chirped in a voice that sounded much too sweet ever be able to conjure the ferocious roars she was famous for, Lewis looking like he was about to pass out. Jade wasn’t looking at him for long, though. “How are you?”

“A little deaf,” Adrien admitted.

“Sorry about that,” she cringed, laughing softly. “One hearing test owed to Adrien Brody. Noted.” Oh, she was witty. He liked witty.

“Yeah, that’s one hell of a set of lungs you have,” he complimented, Jade moving past where her girls stood, pulling herself a bottle of water from the cooler, sinking a shot Katie thrust in her direction.

“Mm, yeah,” she hummed quietly, unscrewing the bottle cap, cocking her head as a confident smile shined through. “I like to think so.” God, the man had the most gorgeous green eyes she’d ever seen in her life, Jade feeling herself pulled in by them, trying not to feel awkward at the fact that she was standing there talking to a man whose fame eclipsed her own in shades. She could feel her internal monologue beginning to flounder at what to say to him next, relieved when Adrien pointed to her t shirt.

“Rough Trade, that’s about my favourite record store in all of New York. Spent entirely too much time and money in there during my youth,” he noted, Jade gesturing to the couch.

“It’s amazing, isn’t it?” she spoke as they sat down, sipping her water. “I used to work there on a weekend before the band blew up and took off.”

“Yeah? What part of New York did you live in? I take it from the accent that you moved over, right?” Of course, she did. Duh. He could have kicked himself, but she didn’t react in any way other than to politely answer.

“I did. I’m from Tottenham, London, but moved over with my parents when I was thirteen. I lived in Harlem. What about you? You sound New York born and bred, and apologies if you think I might be one of those people who knows everything about you already, but I really don’t!”

He watched the embarrassment crease her face as she cringed, reaching to gently squeeze her wrist. “No, you’re fine! God, it’s refreshing, actually, to talk to somebody who doesn’t know anything about me already!” he began, very much enjoying that she truly was a little clueless over him. It made weeding out those with a genuine interest in who he was away from his famous persona much easier. “And yeah, Queens born and bred.”

“Do you still live there?”

“In New York, yeah, but further north. I’ve a house in Oswego County, right out in the middle of nowhere. It’s a mess still, long term restoration project, but I like it. I like not being bothered while I’m not working. I have a place here, too, but only a rental. How about you?”

“Couple of places,” she began, noticing the documentary guys hovering, pointing at them discreetly. “Don’t mind, do you?”

“I don’t. Your tour manager already came and asked us.”

She nodded, continuing. “So yeah, I have a house out in California and an apartment in the West Village. I just bought a property over in England as well, gorgeous estate in Buckinghamshire that the Laurel Canyon house is shortly being rented out to afford.”

Rock music was lucrative, it seemed, for her to own three homes. “That’s smart, renting. You’ll get more for it long term, too. Especially with the association of living in a rock star’s house.”

“Certain would-be renters’ll probably think I have cocaine stashed all over or something,” she snorted, “which is hilarious as I don’t do hard drugs. Used to, but it messed with my ability to perform, so I knocked it on the head.”

He loved how candid she was, not hiding anything for appearances sake. She was also entirely too beautiful for her own good, with the prettiest, bluest eyes he’d ever seen in his life, eyes he couldn’t look away from for a second. A parade of naked women could have walked into the tent right at that moment, and he wouldn’t even have turned his head.

They continued their talk, seemingly oblivious to the merriment going on around them, finding out tentative bits of information about one another, their families, their interests and passions. They had one in particular that surprised the hell out of him.

“Get the fuck out of here! You’re into hip-hop?”

“No, you get the fuck out,” she teased, gently pinching his arm as she laughed. “Yeah, I am! I’m into so much music, but growing up in the areas that I did, it was such an ingrained staple. I was the only white girl amongst all my friends and just absorbed the hip-hop culture like a sponge. I got to listen to so much in the store too. It had its perks, working at Rough Trade.

“I still nearly died on the spot when Method Man came strolling in one day. Wu Tang had released thirty-six chambers the year before, and I couldn’t stop playing it, so yeah, I was completely dumbstruck. He walks up to the counter and I’m just like, “no way, you’re Method Man,” to which he smiled, looked at my name tag and said, “no way, you’re Jade. Whassup, girl?" We became friends, he’s such a cool guy. Comes by my place whenever he can when we’re both back in New York. I cook him pasta and he plays me new stuff he’s been working on. I got a lot of time for Clifford, he’s real straight up.”

“Yeah, I know him a little, too. I’m more friends with RZA, though. I got into making beats in my teens and he’s acted as a mentor to me. Cool guy,” he replied casually, Jade grasping his arms and giving them a little shake.

“You make beats?” she cried, her eyes widening, “play me something! Do you have anything on your phone?”

He shook his head. “Nope, it’s all at home on my laptop. But I will one day, though.” She made a sad face, Adrien pulling his arms from her soft grip, linking his fingers through hers. Oh... too forward, he suddenly panicked. When her fingers squeezed his hands, he realised it wasn’t. Her lit-up face told him it wasn’t, too. God, it was like a thunderbolt had just cut through the tent and hit him square atop his head. “You’re too cute, you know that? I definitely will let you listen to some of it. I plan for us to meet up at the same time in the same place again, for sure.”

“Not many people call me cute,” she admitted, stroking her thumbs in circles over his palms. “Lots of other things. Loud mouthed bitch, profane whore, evil cock tease, but rarely cute.”

The way she looked at him, licking her lip, oh fuck. Yep. He sensed something quite predatory lurking beneath the surface of the quiet, charming woman he was enjoying the hell out of getting to know. What was more? He liked it. “I think the latter is probably fairly apt, isn’t it?”

She leaned forward, her lips tickling the lobe of his ear. “Might show you one day.” His face must have said it all, betrayed the barrier he tried to rapidly build to conceal the fire she’d stoked, licking his insides in a blaze.

Holding eye contact with her, he lifted his chin slightly, his smile growing. “Might let you.” They held each other’s gaze, almost defying the other to look away first, Jade playing with his hands, running her nails up and down his long fingers, licking her lips. Oh, she was so, so sexy. “Might just tease you back twice as bad.”

He winked, and her stomach exploded with butterflies, dropping her gaze for a moment, her internal monologue stuck on excited screaming mode. “It’s so loud in here. Do you want to go someplace quieter?”

“That’d be good. Is my boy gonna be alright, or are your girls gonna eat him alive?” he spoke, nodding over her shoulder, seeing Lewis looking very well settled, drinking and laughing with Katie and Charlotte.

“Yeah, the lesbians will look after him well. They’re together, if you didn’t know. Most don’t unless you’re a fan of the band,” she spoke, Adrien only noticing it then, the understated way they had their pinky fingers linked together. Cute.

“Ahh, he’ll know, then. Save himself the embarrassment of trying to give his usual awkward advances toward two girls who don’t bat for his team.” They got up, exiting the tent without being noticed, although Jade was called out to by a few peers and industry folks as they walked down towards where all the busses were parked a short way from the entrance to the backstage compound.

As he walked, Adrien couldn’t remember the last time he’d felt so excited to spend time with someone who wasn’t a friend or family member, the people much missed as his hectic life whirled around him. He had no idea how much time he’d have with this utterly charming woman who turned to smile at him, but god, he hoped the minutes began to tick backwards with every step he took.

#adrien brody fanfiction #adrien brody x ofc #adrien brody fanfic #adrien brody fic #adrien brody smut #adrien brody #sky full of stars #adrien and jade

50 notes · View notes

sketchfanda · 1 year ago

Text

Kirishima's Mystique: Weapon XXX-23

Canada, the great white north, a vast wide little land consisting of regions such as Toronto, Ottawa and Quebec. Currently within the serene wildness of the Canadian rockies, our resident Red Riot and his cotton candy link Alien Queen were having themselves a little camping trip. Nothing said summer fan like gong hiking around a different country as the sturdy and acidic pair were busy setting up shop. Mina busy prepping the picnic spot and gathering up some kindling for a campfire, that is when she wasn’t busy stealing some glances at her man.

Sensually biting her lip as his tanktop did a grand job showing off that pair of gun shows he called his arms. If there was a vet around,she’d have to call about some “sick pythons”, that was for sure, his biceps and biceps pumped and flexed from all that effort and goddamn was it making her thirsty as all fuck. Rubbing her thighs together as she tried to keep her dirty thoughts at bay, at least until they'd finished setting up camp. Pouting adorably as she thought of how lonely she and Kirishima felt without the third wheel of their tricycle.

Mina:"It's still such a bummer Maya couldn't join us on this trip. I mean granted not often she gets to visit home..."*The cotton candy bombshell quipped as she was still feeling a bit incomplete without their shared girlfriend. Maya of course was indeed spending a week or two in her home of Jagua del Toro which did remind Mina of one thing. They definitely had to go their for sure, she just knew that place wasn't just famous for its beaches, but especially the babes. The kind of babes she and Maya knew would get their Riot all nice and riled up....*

Kirishima:"Ah it is what it is, sometimes but hey next time around we might go with her there, right?"*The sturdy hero quipped in response as he continued nearing completion of the tent. Missing the erotic leer Mina shot his way as she began making her way towards him, lust glowing in her golden racoon eyes. Who could blame her when her man was looking so delicious and fuckable, those firm muscles of his in motion as he worked away on setting up their camp. She had to think it wasn't all bad given she and Kirishima could fuck as much as they wanted, loud as they wanted without anyone to bother them but the critters of nature.*

Any further personal musings of thought or conversation dirty or otherwise when they heard some very loud sounds incoming from nearby their way. Sounds of a very telltale nature that implied combat and conflict of a struggle that was very intense. Being of heroic personality of course the red and pink duo knew they had to intervene and go see what the situation was and just their luck that had to be quite a doozy. Upon investigation of course that wound up being proven to be quite the understatement.

But of course how often were you to likely run into some petite but well toned feisty but fierce girl clad in leather swinging pair of duel bladed claws in her hands like a wild animal. Small wonder she was fighting of course given she was going up against a group of misfits from the infamous Brotherhood, one of the most notorious quirk supremacist gangs around. Suffice to say that what was followed was an intense battle to say the least but numbers weren’t a problem when You had a duo like Pinky and Red Riot backing you up. Oh come on, you really think I’m gonna go into details about how the battle went?

Yeah I thought so, we all know what you’re all really here for so let’s get this show on the road, shall we? After the ragtag renegade band of villains were rounded up followed by some questions and statements with local law enforcement, the red and pink duo were soo back in their camp now with the added company of their new friend they'd saved. A young girl by the name of X-23, or Laura as she found most preferred to call her and to say her lifestory was complex and tragic was an understatement. But she wasn't one to dwell on the past, least compared to how she was then compared to now though it could be hard to tell with how calm, composed and stoic she was.

But she proved to be willing to try and socialise and it helped that Kirishima and Mina had a natural friendliness and affability about them that made them easy to like. Laura certainly had to say mina's peppy motor mouth and spunkiness rather reminded her of Jubilee in a way as the trio enjoyed some small talk and a little bit of the natural tranquillity and serenity of nature of course. Soon of course dusk began to make itself known as the Canadian wilderness became bathed in the fading light and shade of the setting sun as the trio enjoyed a little peace and quiet and making some s'mores around the campfire before Kirishima and Mina decided to call it a night but not before offering to set up a spare tent for Laura to enjoy some privacy as well as peace and quiet. Leaving her be to enjoy the campire while it lasted as they ducked into their own tent a few feet away.

Laura of course wasn't clueless or naive as she seemed to the duo and what they were really up to at this very moment. Her enhanced senses could pick up the sounds and scents of what was going on so close yet so far from her in their tent. The slapping of skin on skin, the clapping of asscheeks as Mina struggled to keep her volume down against the relentless assault of pleasure coming from her boyfriend as he danced the oldest dance known to men and woman with her sexy pink self. It was, quite frankly, intoxicating for the young woman as she felt leather clad thighs becoming soaked with sticky nectar flowing from her quivering pussy.

Oh she certainly appreciated their civility and politeness in not wanting to disturb or offend her with their passion and desire but if anything it made her curios. Despite how cool, calm and stoic she seemed, internally was a different story as she felt that innate primal beast within her stirring. The beast within that desired to mate and breed, sensing the presence of a strong, worthy alpha male, an instinct she felt the moment she'd laid eyes on Kirishima and his feats of strength and power from when he and Mina had helped her out earlier today. Hence she saw no lack of logic in her next set of moves to make as she got up from her seat by the weakening campfire and made her way over the lovers' tent.

The closer she got, the more intense the sounds and scents of their erotic mating hit her senses turning her on something fierce, a glowing red blush on her face as she silently panted with husky desire, eyes glowing with rising lust as she approached the tent. Kneeling down as she stealthily, slowly unzipped the entry way and peeked inside to find quite the delightful show happening before her. The sight of Mina mounted atop her chivalrous Himbo cowgirl style as she bounced her bubbly cotton candy pink booty on that shaft of his. Which she could gleam had to have quite the length and girth on it if the rising bump in Mina's stomach was anything to go by, the alien queen sensually biting her lip, perky pink titties bouncing as she caressed her man's washboard abs while he held her hips firmly.

Eijiro of course hadn't yet noticed their sudden voyeur but Mina's lust hazed golden eyes did, sending her a secret sensual smile Laura's way. The goth-like Wolverine clone knowing enough body language to know Mina wasn't just asking if she was enjoying this show but inviting her to join. After all why watch when it'd be better to share the fun together? Laura of course got the hint easily enough as to Mina’s delight, she began to strip down until she was naked as the day she was born.

Kirishima of course was none the wiser until he suddenly found his view of Mina bouncing on his Lil’ Riot suddenly obscured by Laura straddling his face as she sat and parked her toned perky ass atop it. Grinding and rubbing her slit before she let out soft gasps and moans as she felt his tongue respond to lick and lap away at her flowing nectar. Mina's sensual smile widening as she continued to bounce away on her lover's cock, leaning forward to press her lip's to their new sex friend's own. Tongues dancing together in their growing bond of intimacy as the girl most knew as X-23 expressed her gratitude in a way that felt fun and natural for her.

The campfire had long since gone out but the fires of passion in this threesome only continued to burn bright well long into the night as moans and the primal rhythm of skin on skin filled the wild Canadian air. The tent a tangle of limbs shifting and dancing through a variety of positions and combinations of 2 on one to one on one as one third of the kinky group would catch their breaths. Laura or Mina eating one another out as the hard-headed redhead pounded them doggy style or in missionary to Mina fingering herself with erotic delight as she looked on at the female Wolverine getting it deep and hard in a mating press. Laura was clearly no virgin by any stretch but hotdamn if it wasn't clear she hadn't been with someone on the level that Kirishima and his Alien Queen were at, and this was without their resident blue shapeshifting bombshell girlfriend!!

Naturally Mina was making plans to send Maya the details of this illicit little encounter with their lovely new friend, that is once they woke up in the morning of course. Right at the moment was about feeling as good as they possibly can, as Laura herself now watched on as she recovered her stamina. Probing her pussy with her fingers as she looked on at Mina getting it deep and hard while that flexible bubblegum pink bombshell body of hers was held by Kirishima in a full nelson as he knelt on the tent ground. Grunting and groaning as Mina was rocked with orgasms which only skyrocketed as she soon found Laura licking away at their conjoined loins, lust glowing in those cool eyes of hers. Which the horned girl of course found so damn hot....

By the time this little threesome had finally finished, dawn was kicking in as it bathed the wilderness in the radiant glow of sunrise's light. The tent warmly glowing adding to the afterglow shared by the 3 as Laura laid draped atop Kirishima while Mina spooned and hugged her boyfriend's side. Their bodies glistening with sweat and spent juices as Laura held a soft, rare little smile on her face, thinking to herself she needed more than just the one night. Reminding herself that she had come out looking to find herself spiritually and now she was thinking maybe she might be able to do that if she transferred to Japan, especially once she learned which campus Kirishima and Mina went to.

Not long after this unexpected acquaintanceship encounter in Canada, Laura's well known, imfamous father had his clone daughtered texting with enquiries about arranging a transfer or entry into an exchange program for hero schools in Japan. While Maya found herself getting a delightful surprise in the form of a few texts and videos, especially of the sexy variety from her fave Pinky and definitely liking what she saw. Reminding herself she should definitely get a few of her gal pals in Jagua to come meet her girlfriend and especially their boyfriend and ooh some gals in Japan should definitelt come to her little home paradise. The beaches were hot but the dudes and bitches were hotter!!

Sometimes it wasn't easy being a student for a hero school, especially when yours was the generation that had to deal with quirk erasing yakuza bosses, a quirk hoarder with a demon god complex and a nihilistic hand-freak among other things. But other times it made for quite the love life when you found romance especially when going camping somewhere like in some woods in Canada made you get lucky. Yeah a mouthful I know but hey, you know what they say. How sweet it is....

36 notes · View notes

noandneuron · 1 year ago

Text

To that anon who just asked me a question - I’m so sorry I somehow lost it accidentally while I was editing the answer. I’ll try to recreate it here. Hope you’ll see this!

So you’re quoting that Q magazine interview saying that John dreamt about working with Liam:

“Liam has talked before of how he was inspired to form a band after sneaking in to the International 2 club in Manchester to see the Stone Roses play as a 16-year-old. If it’s true that you should never meet your heroes, would it not be even more so to make a record with one of your heroes? John Squire says of Liam that he ‘dreamt about working with him,’ but then John Squire never blagged his way into an Oasis gig as a teenager. One hesitates to suggest Liam Gallagher might ever be ‘overawed’, but…

‘Listen, mate, I'm not a f--king sycophant, I'm a fan, you know what I mean?’ he says. ‘And I'm 51 now, so I'm over that. If this was happening when I was 16, then yeah I would probably jump off a f--king bridge, but I'm older now. Yeah, I'm excited to be on stage with John Squire for sure, but all that licking his ear and squeezing his bum and f--king flicking his nipple sh-t? Them days are gone, mate.’”

That’s indeed very sweet. Loving this new duo thoroughly (even though they sometimes act in a way like they’re merely acquaintances/colleagues lol). But at least they’re all about that harmonious and positive vibe.

About that last bit you asked if Liam used to do that… check these out:

Credits here: [X] [X] [X] [X]

Also remember how Liam recalled the last time he saw Noel in person: “I think it was a football match in 2013 or ‘14. A City match and he was in one box and I was in another box… I went into see him and I pinched his nipple and kissed him on the ear. I don’t think we spoke. I think he pulled one of his faces like he’s sucking a fucking lemon.”

Guess he just loves doing those kind of things😂

#gallaghercest #ask

39 notes · View notes

dagwolf · 1 year ago

Text

In any event, here's a tasty interview excerpt:

Speaking of doing a lot of different records and working with a lot of amazing songwriters, I own a ton of the records that you've done over the years. One, in particular, I'd like to ask you about is Paul Simon's Graceland. I obsessed over that thing when I was young. Do you have any recollections of working on it?

Oh, I have plenty of recollections of working on that one. I don't know if you heard the stories, but it was not a pleasant deal for us. I mean he [Simon] quite literally — and in no way do I exaggerate when I say — he stole the songs from us.

...

The interviewer's softball question leads to an extended rant that rolls on for over 1500 words. There's no clear way to verify Berlin's claims. But it's interesting to consider his characterization of Los Lobos' “collaboration” with Simon at a moment when the latter artist is being trumpeted as the latest hipster influence, like David Byrne and Gang of Four before him. It must be a heady moment for Simon. New York's much respected Brooklyn Academy of Music is feting him with a sold out month-long residency celebrating his post-Garfunkel career — a tribute fest that finds everyone from Byrne to Ladysmith Black Mambazo singing his songs, a residency whose final week — starting April 23rd — includes one of the top 10 ever most unlikely co-bills: Grizzly Bear, Gillian Welch, Josh Groban, and Olu Dara.

WTF, indeed.

After the jump, Steve Berlin's entire diatribe on Los Lobos' “collaboration” with Simon, including a rare dis of legendary former Warner Bros chief Lenny Waronker.

...

Really…

Yeah. And you know, going into it, I had an enormous amount of respect for the guy. The early records were amazing, I loved his solo records, and I truly thought he was one of the greatest gifts to American music that there was.

At the time, we were high on the musical food chain. Paul had just come off One Trick Pony and was kind of floundering. People forget, before Graceland, he was viewed as a colossal failure. He was low. So when we were approached to do it, I was a way bigger fan than anybody else in the band. We got approached by Lenny Waronker and Mo Ostin who ran our record company [Warner Bros.], and this is the way these guys would talk – “It would mean a lot to the family if you guys would do this for us.” And we thought, “Ok well, it's for the family, so we'll do it.” It sounds so unbelievably naïve and ridiculous that that would be enough of a reason to go to the studio with him.

We go into the studio, and he had quite literally nothing. I mean, he had no ideas, no concepts, and said, “Well, let's just jam.” We said, “We don't really do that.” When we jam, we'll switch instruments. Dave will play drums, I'll play something. We don't really jam. Especially in that era. Louie will be the first to tell you this – he was made to play drums. They forced him to play drums. He's not really a drummer by trade. He's never practiced a moment in his life. Not once in his life did he sit down at the drums because of his love for drumming. The other three guys made him play drums in the early days, so he sort of became drummer by default. He hates playing the instrument, I think. Again, you should ask him, but I don't ever ever, ever get the sense that he was one of those dyed-in-the-wool, John Bonham, let's-play-drums-for-three-days-straight kind of guys. So consequently, as the core band was comprised then, we never jammed – never ever. Not by accident, not even at soundcheck. We would always just play a song.

So Paul was like, “Let's just jam,” and we're like, “Oh jeez. Well alright, let's see what we can do.” And it was not good because Louie wasn't comfortable. None of us were comfortable, it wasn't just Louie. It was like this very alien environment to us. Paul was a very strange guy. Paul's engineer was even stranger than Paul, and he just seemed to have no clue – no focus, no design, no real nothing. He had just done a few of the African songs that hadn't become songs yet. Those were literally jams. Or what the world came to know and I don't think really got exposed enough, is that those are actually songs by a lot of those artists that he just approved of. So that's kind of what he was doing. It was very patrician, material sort of viewpoint. Like, because I'm gonna put my stamp on it, they're now my songs. But that's literally how he approached this stuff.

I remember he played me the one he did by John Hart, and I know John Hart, the last song on the record. He goes, “Yeah, I did this in Louisiana with this zy decko guy.” And he kept saying it over and over. And I remember having to tell him, “Paul, it's pronounced zydeco. It's not zy decko, it's zydeco.” I mean that's how incredibly dilettante he was about this stuff. The guy was clueless.

Wow. You're kidding me?

Clue… less about what he was doing. He knew what he wanted to do, but it was not in any way like, “Here's my idea. Here's this great vision I have for this record, come with me.”

About two hours into it, the guys are like, “You gotta call Lenny right now. You gotta get us out of this. We can't do this. This is a joke. This is a waste of time.” And this was like two hours into the session that they wanted me to call Lenny. What am I going to tell Lenny? It was a favor to him. What am I going to say, “Paul's a fucking idiot?”

Somehow or other, we got through the day with nothing. I mean, literally, nothing. We would do stuff like try an idea out and run it around for 45 minutes, and Paul would go “Eh… I don't like it. Let's do something else.” And it was so frustrating. Even when we'd catch a glimpse of something that might turn into something, he would just lose interest. A kitten-and-the-string kinda thing.

So that's day one. We leave there and it's like, “Ok, we're done. We're never coming back.” I called Lenny and said it really wasn't very good. We really didn't get anything you could call a song or even close to a song. I don't think Paul likes us very much. And frankly, I don't think we like him very much. Can we just say, 'Thanks for the memories' and split?” And he was like, “Man, you gotta hang in there. Paul really does respect you. It's just the way he is. I'll talk to him.” And we were like, “Oh man, please Lenny. It's not working.” Meanwhile, we're not getting paid for this. There was no discussion like we're gonna cash in or anything like that. It was very labor-of-love.

Really…?

Yeah. Don't ask me why. God knows it would have made it a lot easier to be there.

And Lenny put you guys together thinking it would be a good match?

Well, “It would be good for the family.” That was it. So we go back in the second day wondering why we're there. It was ridiculous. I think David starts playing “The Myth of the Fingerprints,” or whatever he ended up calling it. That was one of our songs. That year, that was a song we started working on By Light of the Moon. So that was like an existing Lobos sketch of an idea that we had already started doing. I don't think there were any recordings of it, but we had messed around with it. We knew we were gonna do it. It was gonna turn into a song. Paul goes, “Hey, what's that?” We start playing what we have of it, and it is exactly what you hear on the record. So we're like, “Oh, ok. We'll share this song.”

Good way to get out of the studio, though…

Yeah. But it was very clear to us, at the moment, we're thinking he's doing one of our songs. It would be like if he did “Will the Wolf Survive?” Literally. A few months later, the record comes out and says “Words and Music by Paul Simon.” We were like, “What the fuck is this?”

We tried calling him, and we can't find him. Weeks go by and our managers can't find him. We finally track him down and ask him about our song, and he goes, “Sue me. See what happens.”

What?! Come on…

That's what he said. He said, “You don't like it? Sue me. You'll see what happens.” We were floored. We had no idea. The record comes out, and he's a big hit. Retroactively, he had to give songwriting credit to all the African guys he stole from that were working on it and everyone seemed to forget. But that's the kind of person he is. He's the world's biggest prick, basically.

So we go back to Lenny and say, “Hey listen, you stuck us in the studio with this fucking idiot for two days. We tried to get out of it, you made us stay in there, and then he steals our song?! What the hell?!” And Lenny's always a politician. He made us forget about it long enough that it went away. But to this day, I do not believe we have gotten paid for it. We certainly didn't get songwriting credit for it. And it remains an enormous bone that sticks in our craw. Had he even given us a millionth of what the song and the record became, I think we would have been – if nothing else – much richer, but much happier about the whole thing.

Have you guys seen him since then?

No. Never run into him. I'll tell you, if the guys ever did run into him, I wouldn't want to be him, that's for sure.

That's an amazing story. I can't believe I never heard it before.

We had every right and reason to sue him, and Lenny goes, “It's bad for the family.” When we told the story in that era, when this was going down, we were doing interviews and telling the truth. And Lenny goes, “Hey guys, I really need you to stop talking about it. It's bad for the family.”

Amazing. Talk about bad for the family.

I know. Again, it's just so incredible how naïve we were back then. You can't even imagine that era of music when you'd actually listen to your record company president who told you to shut up because “it's bad for the family.” Now, I'd tell him to go fuck himself.

#paul simon #super prick

23 notes · View notes

marengogo · 1 year ago

Note

if said content was from someone whose account name was related to thinking my best friend and i were romantically involved, i'd check out the account before reposting (even if the content i was planning on reposting didn't have anything to do with said shipping thoughts)

i don't blame th, but i do wish he checked the account 😞

TW: mention of triggering words/actions such as “rape” but not the actual action.

Hi Anon,I hope you can forgive me for using your post to address a topic I've been meaning to discuss. The following has absolutely nothing like for real 💜🙏🏾 against you, but it kinda sets the perfect scenario, so imma take advantage it. BUT imma offer you a jikook hug in exchange, hope you can accept this for your very honest and not blaming frustration 🥹🫰🏾💜

So the topic is: SHIPPING.

Remember that chapter 2 blog which I promised, but NEVER delivered? 🤡🤡🤡 Yeah, so,shipping was going to be one of the many subsections of that blog, which to be honest with you, is sitting unfinished in my draft, and most likely will stay like that … BUT, luckily for me not sure for y’all 😬😬 today serves itself as a perfect day to actually give it an applicable context. Through today's familiar mayhem, I read a post which I think will give the perfect context to the topic of shipping. It is a post from @akookminsupporter, the following one:

I actually happen to agree with this 100%, because I do agree that we don’t want the people we stan to directly, or indirectly, endorse problematic situations, particularly those that are recognised as such universally. For example:

GENOCIDE a UNIVERSALLY KNOWN ISSUE and NOT DEBATABLE PROBLEM

RAPE a UNIVERSALLY KNOWN ISSUE and NOT DEBATABLE PROBLEM

RACIAL SLURS a UNIVERSALLY KNOWN ISSUE and NOT DEBATABLE PROBLEM

You get my point.

Now when it comes to shipping, it is WITHOUT A DOUBT one of the greatest plights within our fandom in particular, but in reality it is an issue in kpop and other music genres as a whole. Yet, the reality is that shipping is indeed a traditional tool REALLY HATE CALLING IT THAT BUT … that is almost always used as a means to a common and popular end. So the questions are:

Do fans within the kpop fandom consider it an issue? Yes and No.

Do people outside the kpop fandom consider it an issue? … Do they even know about it, or about it being a serious issue, within its perimeter?

Do the idols consider it an issue? … Yes? and No?

In its entirety, as all the questions don’t actually have a universally unanimous answer, SHIPPING in general, as of 17 January 2024, can’t be considered a universally known and agreeable issue. BUT, in the case of kpop, the situation is much worse. To begin with, we are unable to definitively agree on whether, or not, shipping is actually an issue to begin with, or not; be it the idol or the shipper. Nobody, in their right mind, is out there making jokes about, for example, genocide. If they are, they will righteously face big ass consequences by almost ANYONE who stumbles upon said comment/s. Shipping, on the other hand, the only people who would care, are the people within said field/environment. But, as I am a very integral part of this fandom, I know that, for us, it has become quite a nerve wracking issue, so let’s go a bit deeper.

Let’s go with the generally known concept within kpop that a debuting band is very likely to engage in fanservice and, consequently, form ships. The idols know, the fans know. Then, let’s give it 4 years? More or less many bands decided that “you know what? I don’t need to do this anymore” and as a consequence, some have tried to address this subject, and some just pretend to not know anymore. No matter the choice, the fact still remains that their related shippers were created, toxic or not, and 9 out of 10 cases; they ain’t going nowhere.

In the case of BTS, it is actually very funny because the only person who has allegedly tried to address this, is the one person who is constantly under fire for “feeding his shippers”. What is even funnier, to me at least, is that none of his 6 members actually came out to back him up, the day he challenged his viewers regarding shipping, at least not that I recall, if you know of any members that was actually supporting Tae, please let me know. So, if none of my bandmates seem to find it an imminent problem because let’s be honest, they had to deal with far bigger shit, apparently, and the company seems to not find it a panic-worth problem, apparently, then, if I were Tae, I’d be initially hella frustrated, but eventually I’d be like: FUCK IT. Which is the mentality I honestly think they all end up applying, in the kpop world.

So, what EXACTLY IS considered shipping?

Repeatedly mentioning the name of a shipped/rival member? Posting pictures with a shipped/rival member? Touching a shipped/rival member? Spending time with shipped/rival member? Standing next to a shipped/rival member? Etc. Just so you know, If any, or all, of these qualify with shipping, then maknae line is UNIVERSALLY within our fandom FUCKED, and yes, only them, because, let’s be real, not many care about the shipping involving the hyung line, even though they do engage in the same type of behaviour … except for Yoongi, he is kinda in the middle, like some sort of collateral damage.

So then what should we do? Should we completely ban shipping? Should shipping be banned maybe 4 years after the debut of all groups? Or should shipping have regulations, some kind of universal judge that presides and guides shipping behaviour? Should shipping fanfictions be abolished? Should unit names be restricted to the sole use of members? Should members cut out time in their life to make sure that they are aware of shipping and their consequences? Soooooo many questions, and probably tooooooo many answers, but the one fact still remains that MOST LIKELY these are all issues for those consuming the provided “shipping content” but not for those providing said “shipping content”, because for example:

And here I will be applying the parent/guardian/teacher/authority figure test, as in , for the next set of examples would any of the aforementioned figures be alarmed? Following are my test results on whose problem it is, between the fandom and its idol.

A JM fan-dedicated birthday party, being crashed by rival shippers: Shippers problems. JM’s mail being stolen: Park Jimin problem, because tbh it could have been anyone, not necessarily a shipper.

JK having to look at a poster saying that he is in love with Tae at the airport: Shippers problems. JK having an actual stalker: Jeon Jungkook problem, because tbh it could have been anyone, not necessarily a shipper.

Tae posting a picture with an shipped/rival member: Shippers problems. Tae finding a girl in his private lift with a marriage certificate: Kim Taehuing problem, because tbh it could have been anyone, not necessarily a shipper.

And don’t get me wrong: name dragging, defaming, lying,character bashing, graphic obscenity, etc, they are all very painful issues to witness, and endure, but it always mainly occurs within the kpop environment. When articles write about perhaps a lazy member, when other fandoms drag our favs to pieces, in the end, when the global announcements are made, none of those descriptive, obscene qualities follow. Grammy nominated BTS, is just Grammy nominated BTS, not paving crew Grammy nominated BTS, or “worst fandom” fuck y’all possessing Grammy nominated BTS. ‘Namean?

Furthermore, the truth probably is that, at the level of BTS, the artist DOESN’T HAVE TO SEE ANY OF THAT BULLSHIT, which is why it ultimately ends up being an “US” issue. Even when toxic shippers reach higher entities, like the company, government offices etc, the second these entities see that it is about a ship, after I am hoping due diligence, they are dismissed, pronto. And so, reiterating, we are left with the bulk of it all 🤡🤡🤡.

So if, taking today as an example, Tae sees a post ABOUT HIMSELF not even his ship, just himself, by one of his shippers, we can assume that he has a pretty good idea about what might be on their page, which to be very honest, I won’t blame him for not wanting to check, but obviously, given all that we’ve been discussing, the idol themself is probably made to not have to think about it at all, as it is considered accepted, not acceptable, behaviour. ALSO they would leave any related, and/or possible issues, to a designated team, which will assess if there is or not a real threat. Because historically, thus far at least, if there were any life-threatening hazards the company seems to take it VERY SERIOUSLY and any other threat is also dealt with accordingly.

But what if, for example, by not checking the shipper’s page, Tae had allowed a human trafficking account to prolifer?! … let’s not 🧢:

TODAY, nobody was angry because of the fact that him not checking the page meant that he could have missed a potential infringement of human rights.

AND If they were a human trafficking page, why is IG allowing them a platform and not quickly doing something about it?

In addition to the fact that, it is a real thing that, CURRENTLY, the accounts that are most likely to post about Tae aren't OT7s nor his biased fans (they may not be that fast or have the numbers) not even tae solos (for lack of numbers or different immediate priorities, such as streaming) but, you guessed it, taekook shippers. Hence, his algorithm will reflect accordingly.

I mean, are we to tell JM to stop affectionately hug his members? Do we dare telling jk to stop liking shipping tiktoks or mention members' names? ….

All that just to say that @ejassy, in reality and effectively, by reposting said story, Tae wasn't actually endorsing shipping, because shipping in SK, differently from smoking or doing drugs, is generally not frowned upon. It is not an action or message that needs any kind of endorings, because within the kpop world, those who use it as a tool do not consider it a problem, hence, it is very openly accepted as a part of the culture they willingly, or not, help create.

“But so-and-so gets dragged viciously, and disgustingly, everyday” I know. They probably know as well, but I’ve already discussed their responsible personnel. As for us, we know what to do, report report report! . I mean, I’m sure that they have a PR team that tells them about the good trends or good SM news, achievements, etc. “So what? .. we fans are stuck with toxic shippers and our favs not acknowledging or doing anything about it?” … 🤡🤡🤡

I don’t know.

We mostly all know about shipping culture’s systematic past, we know about its problematic present. In all honesty, it feels a bit like a lost battle but recently Kpop fans were able to make it known that, for example, for good reasons, they are against Starbucks. And it very effectively got to their idols, because said fans were united and in agreement. But within the shipping world, they all hate the other shipper and at the same time they kinda don't want to stop their own shipping, because they are really not against it, in fact, perhaps, they’d like some boundaries set, but who is to decide said boundaries? OR should shipping be considered a universal issue? … I think shipping has actually become an issue, particularly when regarding the queer community, BUT, what do I know, right? So, what's the solution ....

Y’all tell me.

Always respectfully yours,

Marengo.

PS - Once again, thank you Anon, now I'm off to bed 😴😴😴

#Marengo Specific Thoughts #Category Is - SHIPPING

22 notes · View notes

day6source · 1 year ago

Text

DAY6 Open Up About Their Long-Awaited Comeback and What Fourever Means to Them: 'It's Our Time' (Exclusive)

"I think the last three years was a period of self-care and self-love," SUNGJIN says of the 4-piece band's hiatus by Jenna Wang

After a long break, returning to the stage again might feel a little intimidating. Just like with any activity, time spent away might make anyone feel hesitant — like trying to re-learn how to bike, or going through the motions of swimming again. However, when the K-pop boy band DAY6 pulls back the curtain with a flourish, it’s clear that their three-year-long hiatus hasn’t stopped them in their tracks. For the boys — SUNGJIN, 31, Young K, 30, WONPIL, 29, and DOWOON, 28 — the stage is their natural element. From the way they passionately sing as the spotlights fall on their faces, they couldn’t be happier to be together again. And as the chorus of their latest album’s first track builds up, they have one message for those who have anticipated their comeback: “Welcome to the Show.”

Their eighth mini-album name, Fourever, hits the nail on the head with its overall theme, composed of seven tracks about love, nostalgia and what happiness really is. As the boys gather one late evening to talk about the comeback, they can’t help but reflect on their pop rock journey together since their debut back in 2015. While dressed warmly in long sleeves and quarter zips, the energy they exude together is just as heartwarmingly bright. “It’s our time,” Young K says to PEOPLE. “Being able to put out this album would be our biggest joy, really coming back altogether and being able to present ourselves in front of My Days because they have been waiting for this moment as much as us, hopefully.” Indeed, being together in front of their fans, dubbed “My Days,” has been a long time coming. Through all the trials and tribulations, their unity is what stands out as they speak, and especially in their lyrics. “I’m so moved by the stage / That I won’t be alone any longer,” Young K sings in the first track, surrounded by his fellow bandmates.

However, with any comeback from a break, a bundle of mixed emotions is to be expected. “If you listen to our song, ‘I Smile,’ there’s a lyric that says ‘half-nervous and half-excited,’” DOWOON says of the track, released in 2017. “That’s exactly how I feel.” For the past three years, the DAY6 members completed their required military enlistment in South Korea. While they underwent basic training, they also could reflect on what meant most to them. “I think the last three years was a period of self-care and self-love,” SUNGJIN says. “I have come to realize that in order for this band to exist, I have to exist first, so I really try to teach myself how to take care of myself well.”

For SUNGJIN, self-care might be as simple as buying a small gift for himself, or meeting with loved ones. And even though all the boys were completing their service, that didn’t mean they were restricted from seeing one another. In fact, DOWOON recalls a humorous moment when he was in a TV program, and WONPIL and Young K joined him to perform. “They insisted that they come into my room and share my bed while we were training, while we were practicing together — so that’s one memory that I have,” DOWOON shares. “That’s how glad we were to see him,” Young K adds with a laugh. When asked how large the bed was, WONPIL doesn’t beat around the bush with his response: “Yeah, it was very small.” The boys also had ample free time outside of training to engage in hobbies, and DOWOON’s was especially productive. The drummer, and the band’s youngest member, says he taught himself how to play the bass drums and pushed himself to continually “relearn.” Mastering the instrument became the challenge he set out to accomplish for the album. DOWOON is far from the only member who plays an instrument. In fact, what makes the boy band especially unique is how every member excels at their own instrument. While SUNGJIN rocks it as the rhythm guitarist, WONPIL effortlessly works the keyboard and synthesizer. Young K has always been the bassist of the group, but surprisingly, has never played a bass instrument before becoming a trainee. However, you wouldn’t be able to tell because of how much he practices for upcoming albums. “That becomes the best way of practice for me,” he says of his practicing regimen. “Of course, doing the chromatics, slowing down and then going at the right pace — that would be a great practice session.” “That’s why I don’t call myself the best bassist, but that’s what I do,” he simply adds.

Regardless of how they practice, their instrumental mastery shines through in each of the tracks. They serve to highlight the deep meanings associated with each song, like SUNGJIN’s favorite — “HAPPY.” The second track revolves around one question: “Why am I gradually sinking when I want to be happy?” For SUNGJIN, the melancholic song is one that he can especially relate to. “I empathize with it the most because it talks about the question that I had for myself for a long time, which is how I had this obscure thought that happiness will come along one day,” he says. As the boys begin to contemplate about what the songs mean, it’s apparent that they draw on a lot of memories and feelings from the past. Indeed, nostalgia ( a feeling “relatable to everyone,” says SUNGJIN) is a core tenant in tracks such as “Get the Hell Out,” which address lingering, and often tormenting memories.

Embarrassing memories might often fall under the same vein, and Young K can recall an especially funny memory. When he was still a trainee, he appeared on a TV show and said he was “from Toronto.” However, he chose not to say the Canadian city’s name in a Korean accent, and that’s what people will “still make fun” of him for to the present day. “I don’t even have to think back on it — people make me think back on it,” he says of the inescapable memory. “People bring it up, and I’m still that guy from Toronto.” As the boys begin to contemplate about what the songs mean, it’s apparent that they draw on a lot of memories and feelings from the past. Indeed, nostalgia ( a feeling “relatable to everyone,” says SUNGJIN) is a core tenant in tracks such as “Get the Hell Out,” which address lingering, and often tormenting memories. Embarrassing memories might often fall under the same vein, and Young K can recall an especially funny memory. When he was still a trainee, he appeared on a TV show and said he was “from Toronto.” However, he chose not to say the Canadian city’s name in a Korean accent, and that’s what people will “still make fun” of him for to the present day. “I don’t even have to think back on it — people make me think back on it,” he says of the inescapable memory. “People bring it up, and I’m still that guy from Toronto.”

Perhaps just as recurring in all the boys’ lives is the motif of love, which many of their tracks explore. Yet, even with tracks like “The Power of Love” and “Let Me Love You,” the boys still agree that much is still unknown about the power of the emotion. “I’m not 100% certain if I know what love is, but I think for now, sacrifice takes a big part of it,” WONPIL says. “And consideration,” SUNGJIN chimes in, before diving deeper.

“The definition of love is still unclear to me, but I feel it,” he continues. “I really feel from my parents what real love is, and it’s something that I didn’t realize before. Now, I really realize what my parents gave me was real love.” DOWOON says he can feel a special kind of love between him and the fans. “When I look into the eyes of My Days, I can feel their love for us,” he says. “I learned a lot about love from My Days, and I constantly think about how we can return that love and I think I’m still in the learning process of the definition of love. But for now, I can say that the love that My Days gives us — we feel that a lot.” Young K, too, also has much to contemplate about when thinking about love. For him, the idea of love is “very interesting” in many ways.

“Love has been existing ever since human beings existed, or ever since language existed, and people are still asking what the definition of love is,” he explains. “It still hasn’t been defined. I can say whatever we say is not the definition for everyone, but I feel like I can certainly say love exists everywhere.” Later on, the group also demonstrates how love isn’t only between them or their fans, but even for their past selves. That’s something they don’t forget to mention as they grow into their late twenties and early thirties, as DOWOON proves with a message to his younger self. “Just be there and stay there, and it will brighten up one day,” he says after a thoughtful moment. “Learn to love yourself as soon as possible in order to help others.” Despite their more mature outlook on things, it’s clear that the DAY6 members haven’t lost their charismatic and youthful energy. Since they’ve united together again, the band has shared countless memories, full of ab-forming laughs. “When we were practicing, I asked WONPIL: ‘How much longer are you going to practice?’”DOWOON recalls. “He said, ‘I can practice as long as I want, what’s wrong with it?’” As the members begin to smile, DOWOON adds: “And he shouted, ‘Just leave me alone, let me practice in peace!’” WONPIL also adds his two cents as well about what, or in this case, who, makes him laugh the most.

“I always get a laugh from Young K,” he says. “He always makes me laugh. I can’t exactly point out what it was recently, but I remember laughing really, really hard because of Young K.” In response, Young K shrugs humorously in confusion, just as DOWOON brings up his Toronto motif again. Now, with their comeback, the DAY6 members are ready for what’s ahead, no matter how rocky, smooth or unpredictable the waves may be. In fact, unpredictability is already something that they’re used to, Young K says. “When we first came out, there were no numbers, or very small numbers compared to now,” he reflects. “For example, ‘You Were Beautiful’ went in the charts years later after it was released. So, you never know what’s going to happen in the future. All we got to do is just make good music and work hard.” As for any upcoming plans? Besides a concert in mid-April, they can’t make any guarantees about anything else. However, they have their hopes set in stone. “I don’t know if anything is set yet, but we’re hoping to go around the world,” Young K teases. “I promise you, and this is a promise — nothing is set yet.”

#sungjin #young k #wonpil #dowoon #day6 #day6 even of day #park sungjin #kang younghyun #brian kang #kim wonpil #yoon dowoon #day6: interview #240328 #[this one is HUGE LMAO but v good thank u people magazine]

12 notes · View notes

christinescupofcoffee · 5 months ago

Text

dead man walking

chapter fourteen: room for one more

Darkness covered the entirety of the catwalk as Alex led Krista over the grated floor: she kept her free hand rested upon her lower belly out of mere instinct. It was ten minutes to show time and they both had to at least see what was going on down below them, without the premise of their ducking into the dressing room and into their business. Behind the curtain, Alex made sight of the crown of Charlie's head. Right before him was Dan and his lengthy bangs, which he had grown out with the passage of time: soon, he would be able to pin them back much like Alex himself just prior to when he left Testament. Indeed, Alex craned his neck and held onto the railing for a better view of them back there.

“What a view, right?” Krista declared right then.

“Oh, yeah...” He paid more attention to what was going on behind the curtain, however. Charlie moved about back there as if he was in search of something whereas Dan was perfectly content to sit alone with his guitar pounced across his lap. With the darkness over him, he was able to move up the catwalk for a better view of that backstage area: he scanned what little he could see for any sign of Scott or Frank or John, any sign of a shiny bald head, or wavy dark Italian hair, or smooth mousy hair. All three of those men never appeared one time back there.

A few minutes before the show's beginning and those three men were nowhere to be seen.

He returned to Krista and her hand rested upon her stomach and the look of concern plastered across her face.

“See anything?” she asked him, to which he shook his head.

“I can barely see anything as is,” he replied, “but I could see Charlie and Danny back there, though. Just chilling back there before the show starts, really.”

He glanced off to the left for a view of the audience down below. The seats had filled up and filled out without any sort of struggle with all those British fans. They took their metal to heart over there in Europe, especially if the crowds to see Testament and Anthrax when Joey sang with them were anything to go by, and down below them was no different. Alex spotted a couple of Polish flags as well as French and Irish flags. Sometimes, during festivals, he would see flags from countries he never expected to see before like Macedonia out there in the vast stretch of crowd. It wasn't until Metallica crossed the Iron Curtain when they followed suit and he saw the old Polish flag as well the Ukrainian one out there. To see fans from all around the world to see their favorite band left him with a soft feeling inside of his heart and a little smile on his face.

“Like old times,” Krista remarked with a smile on her face.

“Exactly like old times,” he said as he took another glimpse to the right once again. Charlie and Dan had disappeared and the lights turned down low back there. Something about the very sight of the darkness back there left a little pit in his stomach, especially when he had missed the other three that whole entire time.

“I've got a weird feeling about all of this, Krista,” he told her, and he though back to their original question and why Charlie even brought them up there to the catwalk in the first place.

Right beneath them, the lights switched to a rich royal blue before they bled away to darkness as well. The crowd next to them erupted into a deafening roar, such that Alex bowed his head a bit and clasped a hand to his ear. Krista never moved a muscle however.

“I forget how loud the British crowds are,” he told her in the loudest voice he could do, and she nodded in agreement. Through the darkness, he spotted the biggest of the Polish flags as it waved with a pale silhouette: the white field only appeared in its pearlescent form to him.

He and Krista then glanced down at the grating in unison as the lights glimmered back onto that royal blue color. He recognized Charlie's buzz cut as he ducked behind his drum kit, raised up right there in the center of the stage. Right beneath them as well.

The very position of the catwalk worsened the pit in his stomach: he clasped a hand to his head to steady his balance but he still looked down regardless of the sickly feeling inside of him. He still took a glimpse down below them to Frank's long dark waves as he breezed past the drum kit for his bass. Dan followed suit right behind them, as well as Scott and the sheen at the crown of his head. John emerged from the right side of the stage, and from right underneath Krista: his long smooth hair flowed behind him like a flag.

Alex caught a quick whiff of that pine smell again, but on the other hand, for all he knew, it merely came from a piece of pine.

But then again, he only caught a smell of it when John strode up on stage.

“Hello, England!” he bellowed into the microphone. Such an odd feeling to hear his voice through the microphone rather than Joey at that point. He knew that Joey drifted through the rafters at that moment, even though he was met with the mere darkness brought on by the lights beneath him and Krista's feet. Alex clasped a hand to his brow again, to which she turned to him and huddled closer to him.

“Are you okay?” she asked him over the noise barrier which already began to form around them.

“Yeah, it's just—kinda high up is all,” he replied with a sickly little smile on his face.

“I see some Polish flags in the background there,” Scott joined in on his microphone. “How 'bout that, John?”

“That's awesome, Scott,” he replied. “It's always nice to see people from a place like that rise up and come and witness metal in person like this.”

The crowd replied with a round of applause: Alex shook his head and he peered over the rail again. The mere height of it, the realization that he stood thirty feet right over John and Scott, only added to the sickly feeling in the pit of his stomach.

“This first song is from our new album,” John announced to the crowd before them, “called Sound of White Noise—it's for all you Polish fans out there and anyone who comes to see us from a place of oppression like that. It's called 'Room for One More'!”

Dan and Scott led the way with the riff, and Frank lingered right behind them with that monstrous bass. Meanwhile, Charlie drove the whole mood of it all with his thundering drums; even though they stood above the stage, the kick drums pounded Alex in the chest and Krista right in the thick of her womb. The very sound of it only added to the dizzy sensation inside of Alex's head. He shook his head about as John let out those searing vocals.

A mosh pit already began to form right beneath them, much to Alex's chagrin.

“Alex, look!” Krista gestured to the edge of the room: through the bright glow of the blue and golden lights right below them, he spotted George the Irishman next to a woman with dark lenses over her eyes. He shook his head and turned back to her.

“What am I looking at?” he asked her in a loud enough voice.

“Mrs. Jones!” she declared.

“Holy fuck,” he blurted out as he bowed his head and closed his eyes. “I can't take this anymore.”

“What's wrong?”

“I'm dizzy!” He lurched forward but then he clasped onto the rail with his other hand. His sudden movement made the catwalk jolt a bit, such that Krista clutched onto the rail herself.

“Uh oh—” he blurted out again.

“What do we do?” she quipped. He held still and, out of the corner of his eye, he swore that some part of the catwalk gave out from underneath him.

“Alex, what do we do?” she asked him again.

“Back up—” he told her in a loud voice over John's singing. “Slowly.”

Careful not to lose her balance and trip on her own feet, Krista backed up along the catwalk: she kept her hands over the railing in the case of her losing her balance herself. Alex loomed right before her as he walked in a straight forward direction to the end closest to them, back in the direction of that cart with the cleaning supplies.

She took another step and she hit firm carpeted floor behind her. She then turned around as Dan launched into a loud screech of a solo; Alex almost face planted right into the carpet but he caught himself on the wall to his left. Krista turned back to him as he gathered himself and let out a long low whistle.

“That was close,” he said and he put his arms around her. “Are you okay?”

“Yeah. That just—scared me is all.”

“I just got so dizzy standing there,” he told her. “Between the height and the lights below us, it was all getting to me.”

She patted the sides of his face with both hands and then she massaged his shoulders.

“Why would Mrs. Jones even be here?” he asked her. “I thought you said that she's blind, isn't she?”

“She is,” she replied, “—but what she lacks in her stone blindness, she makes up in her other four senses. I saw her wrinkle her nose a bit, too, like some kind of rank smell bothered her.”

“By the way, I did smell turpentine again, after all,” he pointed out. “Just a little whiff of it, but I did smell it. That pine smell with a bit of chemical behind it. I looked up above us and all I saw were the rafters.”

“Maybe that's why you got dizzy again, too,” she told him.

“Maybe. Who knows, really. I just can't out there again. I thought I was going to fall over the railing.”

He turned to her with his hands pressed to his hips and his lips pursed. All the pieces before them, and all it took was a bit of glue to bring the whole thing together for them.

“I also got this ghoulish feeling while you and I were standing there, too,” she spoke again.

“Ghoulish? Like, how so?”

“Like something else with us there.” She shivered and adjusted the lapels of her coat even though the blast of warm air grazed the crowns of their heads.

“You know, it's funny—I pictured Joey there in the rafters before us. In all his ghostly form no less.”

“I did, too!” she admitted. “I thought, 'Joey is looking down on us right now.' What if he possessed you?”

Alex rolled his eyes at that.

“Joey didn't possess me,” he scoffed at that. “It may be Christmas and Hanukkah season, but I assure you there aren't ghosts for that sort of thing around here.”

“Maybe he knocked you over the head,” she teased him, and he rolled his eyes again.

“Again,” he said with a raise of his eyebrows. “I'm agnostic, Kris. Whaddya want?”

“To have a little fun now and again,” she said, “we're taking the whole thing into our hands and investigating the death of my fiance and the father of my baby. You and I could stand to loosen up again with what we have.”

“I've met people in the music industry who take the whole entire thing so seriously,” he pointed out, “so I totally get that with that context.”

“That said, we have got to do something, Alex,” she told him.

“Yeah, we really do,” he replied. “What's their next stop? Spain?”

“I think so. There's always room for more snooping over there, mind you, Alex.”

“Yeah, and things like cocaine are legal over there, too.”

“You don't think—” She stopped and then he frowned. The two of them shook her heads in unison.

“Mere speculation,” he pointed out at a fast clip.

“Nothing but speculation,” she said with another shake of her head.

“It's still worth a shot, however,” he stated.

“Absolutely. And you've got time as well.”

He turned to her with his eyes squinted.

“I say we check out of our hotel tonight and then bounce on over there,” he suggested. “I just—have an odd feeling about all of this.”

“Let's go to the back of the theater, too,” she added. “I feel like we'll see some things back there once the show's over.”

And he nodded at that. He shook his head to keep the dizzy feeling at bay given he was back on a solid floor once more.

As Krista led him back to the green room, they both caught the searing roar that was James Hetfield's voice right through the overhead speaker. She also caught a whiff of turpentine herself there in the hallway. That woody smell mixed with a touch of chemical, as if it had been soaked through rubbing alcohol. As if someone painted with oils right there in that very corridor and used a small cup straight from the bottle.

They passed the green room and then, side by side, they descended the stairs to the lobby floor, which stood deserted despite the sheer amount of people in that theater. Alex shook his head again and then he lunged for the front doors, and he held it open for Krista. She showed him a smile before she stepped out to the cold black night out there before them. He then caught up with her as they strode to the corner of the theater together; back to that alleyway where they were earlier that day.

Krista took a peek down the alleyway herself and then Alex peered around her for a look himself. Shadows blanketed the alleyway, such that he knew that would protect them both from prying eyes. He glanced over his shoulder to ensure no one else was there with them, and then she ducked in there for a round of spying on her part.

Even though nothing lay on the ground before them, she still clung close to the wall in the case of either of them bringing attention to themselves with something as trivial as a trash can lid. Alex lingered right behind her: every so often, he peered over his shoulder again, and every single time, no one lurked behind them, but the pit in his stomach still had its place there. Krista reached the corner first and she clung to the edge of the wall for a view back there.

Alex joined her for a look at nothing more than a stretch of concrete lined with a chain link fence and a protected metal generator to keep the lights inside there on. Meanwhile, the sole light came from the pale yellow stray light bulb over the back door in front of them. Through the pale light, Anthrax's truck loomed right next to the curb on the other side of the concrete. Even with the darkness that surrounded them, Alex still lingered back lest someone back there see him or Krista.

Given the show barely started, he knew that they would be there a while, unless someone stumbled out of the back door on the other side of the building there. Charlie's kick drum thundered through the wall next to them: every so often, Alex could hear John's voice or Frank's bass on the other side of the bricks, but that drum pounded into his head and his chest like a big heavy steady sledgehammer. That pounding noise did nothing to help with the dizzy sensation in his head or the uneasy feeling in his stomach.

A door on the other side of the building slammed shut and someone stumbled out of there.

“Come along—” Alex recognized George's brogue even from around the corner. Though the woman spoke with a soft voice, he caught that Australian accent once again.

“George is with Mrs. Jones?” he whispered to Krista.

“It's hard to tell,” she confessed with a quick glimpse back at him.

“Quite—especially when I've never met Mrs. Jones, either. Is she Aussie?”

“New Zealander,” she replied. “They're similar to each other, though.”

The woman said something and then George laughed.

“Oh, yeah, I could definitely make sumthin' for you, my dear,” he promised her.

“Make something,” Alex echoed it in a soft whisper.

“Like what?” Krista wondered aloud.

The woman said something else and George laughed again.

“We'll take ya t' Spain and then t' France an' we'll see about 't,” he continued on. “Make a li'l bit o' green all th' while, too.”

The woman said something.

“How much? I'm feelin' at least fifty quid for th' turpentine alone.”

“Turpentine,” Alex muttered.

The woman said something.

“Oh, yeah, it's definitely a solvent—you don't wanna use it that much,” George explained.

The woman said something, and Alex caught the word “knife” in there, which made his heart skip several beats.

“Yah, it's in th' frohnt room in th' lohbby,” he replied. “I put 't there 'cause I had nowhere else, t' be honest.”

The woman said something and he laughed again.

“I like m' knife,” George insisted. “'t cuts wonderfully, even wit' its sheer size.”

The woman said something.

“Oh, yah,” he continued, “sohmetimes it can be a bit o' overkill, but I like m' knife.”

Krista looked back at Alex: through the dim light, he made out the sight of fear in her eyes. The very sight of her sent a chill up his spine.

“This is killing me,” he confessed to her.

“Me, too,” she replied.

One of the crew members said something to George and the woman right then.

“Oh, yah, sohmetimes I like t' play blackjack once in a while,” he declared.

“Blackjack,” Krista echoed him.

“Like—actual blackjack?” Alex asked her.

“I dunno,” she replied.

“Play blackjack wit' a knife?” George chuckled. “Nah. I'm sure they do on th' West Coast, though.”

The crew member said something right then.

“Oh, yah, this is my girlfriend Ginny,” he replied, “from Tasmania.”

Krista peered back at Alex with her eyebrows knitted together.

“That's got to be a coincidence,” he said.

“It has to,” she added.

The crew member said something.

“She can't see too well,” George replied, and the woman added something. Krista leaned in for a better listening but her voice was far too soft. Alex closed his eyes to try it out for himself, but it was futile especially when the crew person's voice carried in the opposite direction and Charlie employed the blast beats on the other side of the bricks.

“What do I do?” George declared. “I'm a dealer!”

Krista gaped at Alex again, who opened his eyes.

“A dealer!” she echoed in a hushed voice.

“Shh shh shh—” He patted her shoulder given George said something. “Damn it, we missed it.”

“Missed what?” she asked him.

“What kind of dealer he is,” he clarified. “He just said it.”

“God damn it,” she muttered.

“What are the two of you doing here?” a low voice behind them demanded. They both whirled around and through the darkness in the alleyway, Peter towered over the both of them. Alex put his arm over Krista's body as if to protect her, but Peter chuckled at them.

“What's it look like?” Alex sputtered.

“It looks like the two of you are stalking the band,” Peter calmly replied. The reflection from the pale light cast a glow over his pallid face, which in turn made him appear even more pale than in reality. His jet black hair appeared even darker against the black tapestry of the sky overhead. Alex's bottom lip trembled at the mere sight of him and Krista clutched at herself. At the same time, by the mere sight of him, they hoped that he would go easy on them.

#fanfic #fanfiction #writing #writers on tumblr #writeblr #my writing #dead man walking fanfic #dead man walking #anthrax #testament #testament band #alex skolnick #krista belladonna #type o negative #peter steele #also on ao3 #text #Spotify

2 notes · View notes