nopperabounet

[nopperabounet]

Time to spread some drummer love for B-T’s dashing rhythm man, Yagami Toll on his 60th birthday~! 🎉🎉🎇✨🥂🎉🎉

May he grace us with many more years of drumming, charm, and always be our Aniki~ 💚💚💚💚💚💚💚💚

Enjoy his FT 103 interview below.

Fish Tank 103 Interview with Yagami Toll Reporter: Okubo Yuka Translation: Lola

 Apart from what's going on currently, how have you been spending your time since New Year's?

Since New Year's it's been nothing but meetings. And as you know just recently I was a judge for "TAGO STUDIO TAKASAKI MUSIC FESTIVAL 2022." Was my third time judging. I got to meet with Hotei Tomoyasu-san for the first time in about six years since he was a guest.

How did judging the auditions go?

I didn't get to see the preliminary rounds, only the final one but there were several categories like karaoke, singer/songwriter, and band, and for the karaoke part, there was a woman who sang MISIA's "Everything." It was incredible. Ultimately though it was a band group that took the top prize. They were a band of senior high school students, around like 17 or 18 years old I think, called "Maguro Nikan." They were pretty good. The drummer and the vocalist were women, and the young drummer was so good, it surprised me. From what I heard they'd only been drumming for like three or five years or something. That's some gifted learning. And when they were asked, "But can you sustain this level of drumming for twenty songs?", she answered, "I've done it. Also, not to be rude but I've even done one man shows." *laughs*

I look forward to seeing more about them in the future. Didn't you also take some leisurely time in your home town?

During that period, I did return to Gunma. It had been a long time. I hadn't been back since the start of corona. So it'd been like two years. I caught up with old friends, local live house people, and we all drank and rekindled our friendship.

Now let's look back to last year's Budoukan performance, while it was once again broadcast as two parts, it was a new version of the "Misemono~" show wasn't it?

I pretty much left the song choice and structure of the show up to the others. But I think the idea of it being in two parts, was also to try to give some consideration to Imai, and let him have a bit of a break. Meanwhile he was out there walking around anyway *laughs*. Because we were told his recovery would take a full year, but by the point of that show it would have only been like seven months right?

I'm glad it ended without incident. Was there anything in particular that left an impression on you?

At the end of "DIABOLO", Imai was on lying on his back on the sofa with his legs going in the air *laughs*. On the whole, I was really happy with how things went from the beginning of "DIABOLO" to the end of "Alice in Wonder Underground." It had the right feeling for the "Misemono~."

It did. Also it was your first time performing "Koi" and "Go-Go B-T TRAIN" so how did that go?

We didn't change it from when we recorded them so I was able to play them as usual I guess.

I also noticed at a later streaming of the show on WOWOW that during "Maimu maimu" you had a tiny cymbal above the snare.

I had that there to have the same kind of jingle as like a tambourine when I hit it. That way it makes the right sound.

And you've been doing that since recording?

Yeah. I did have it during the recording too, and I've had it there for every performance of "Maimu maimu."

Really? Do you use it for other songs too?

Nah, it's purely a "Maimu maimu" thing.

As for costumes, you had two different colors, a green one, and a pink one.  The shade of green of the jacket is really pretty you know.

Well actually I had requested it to be Tiffany Blue *laughs*. But I've always loved green so I'm quite happy with the color.

You also have quite a lot of events coming up don't you Yagami-san?

I do, yes. I've got KEITH-san's 70th birthday event, Kagawa(Macoto)-kun's event in Gunma, and then there's SHIME-san's charity live. I'll be appearing with Blue Sky for the charity live.

Really? What songs were you planning on performing for KEITH-san's event?

For KEITH-san's, I was hoping to try some twin drumming action and play some ARB.

Twin drumming? Have you ever even shared a stage with KEITH-san  before?

This will be the first. We've drunk together and stuff but this will be the first time sharing a stage. See, my sneaky strategy is to have him next to me so I can watch him and take a page from his style book *laughs*.

*smiles* As for Kagawa-san's event "Macoto Kagawa Presents 'A thousand and one nights of Rock & Roll'", it is being hosted by Takasaki Club JAMMERS on (Saturday) June 18th.

I mean until now I've done "GBGB" events in Gunma but this year because many venues were being used as vaccination centers, they couldn't host shows. So I feel like this is making up for that a bit you know.

Perhaps it is? As far as the lineup goes, it's looking to be a gathering of distinguished people.

Yet I haven't had a word about what I'm supposed to be doing *laughs*. Like am I going to be doing covers of European music? What? I haven't even heard what kind of menu it's going to be, so I'm not really sure what to do *laughs*.

How long have you known Hiroishi Takehiko-san for?

Some twenty years. I guess since our Victor days?  But we haven't been with Victor in like twenty-six years right? So since about that long I guess. There's Ikehata Junji-san too from The Roosters. I haven't seen him in a long while either so I'm looking forward to being able to do that too.

It's hard though isn't it, since you'll have to be practicing so many different songs.

Well you know I don't really feel like practicing though *smiles*. I've already got the start of BUCK-TICK stuff while that's going on. So I don't know. Maybe if I practiced every day I'd be able to come off looking like a pro *laughs*.

You've been a pro for 35 years! *laughs* Still, despite not knowing what songs you'll be doing for some of these things, I imagine you're looking forward to the performances, and meeting up with everyone.

Yeah, I mean that's what interested me about it.

Starting in July, you have the start of the fan club and mobile members only lives. It's been a long time since you've toured in live houses right?

That's why I'm going to be so busy. I've been wondering if I'll be able to manage given that ( my body) has grown soft.

I think you can manage to squeeze in some ten minute warm ups before all the business sets in. I've also heard that there's been some song creation since the new year?

You're asking about recording? I just heard the demo tape myself.

I thought you'd already begun working on the songs.

Yes. But the recording itself hasn't begun yet, though it is progressing bit by bit.

What kind of feeling did the songs on the demo tape have for you?

At this point there's been about five I think. I'd say they have a completely different feeling than anything we've done till now, and from what I've heard there's a lot of potential there. Imai's been working, and it's like revving the engine to get things going but the final thing is writing a song that can be used as a single. Because as of now none of the songs really fit for a single. They feel more like a lead in.

I thought you had some songs from Hoshino-san as well?

Yeah. Hide's stuff is always good. As for Imai, nothing of his is really single worthy yet but then again when Acchan sings, that does make it different too right. Like when Acchan sings, it completely changes the songs that they made. So as of right now, nobody can really tell where things are going.

But it seems you've got the foundations of an album. That's exciting. As for the contents of the fan club and mobile members only lives, what kind of tour would you like it to be?

Right now what I'm wishing for is for people not to have to wear masks you know? Because of course I'd like to see people's reactions right. I wonder if that will be possible by the time we have the lives, and I hope that everyone will be able to enjoy themselves. But I have no idea what the situation will be like by then so I just hope we can get people into it.

With the start of the tour is the beginning of your 35th anniversary year.

We started when I was twenty-five, and this year I'm turning sixty, so that's how I know it's 35 years *smiles*. Makes it easy for me to remember.

Yes *smiles*. I hope you have a magnificent 60th birthday celebration. Would you please say something to everyone who is looking forward to it?

We already announced our plans for our 35th anniversary at the end of the year in Budoukan so I'm hoping  we get to do all the things we had planned for it. As the time draws nearer, I absolutely hope you will all come to see us live.

[nopperabounet]

For the Star Man, Hidehiko Hoshino, on his birthday~ 💖💖💖✨🎇🥂

Fish Tank 103 Interview with Hoshino Hidehiko Reporter: Okubo Yuka Translation: Lola

 Since the completion of the Budoukan performance at the close of last year, how have you spent the new year?

Just relaxing, I went snowboarding but aside from that it's mostly been all about chilling *smiles* . . . . . . and feeling like maybe I should start working on some songs.

Are you thinking about the next album?

Since the year has started we're still trying to iron out plans for a tour, but before that can happen we have to record something.  Like the next album.

According to the announcements at Budoukan, the next album was scheduled to release in the spring of next year right?

Right. It feels like we're continuing to make progress towards that just by doing what we can in the meantime.

This may be too forward of me to ask but, do you have any idea about the concept of the next album?

For the time being when it comes to a concept, the plan is to change things up a little. But I can't really give minute details *smiles*. I'd say that's always how it feels, each time we change things up a bit.

Up till now I feel like you've always managed to come up with something that feels new with each album you put out so would you say that changing things up is something that is often on your mind?

I would say it feels more like wondering if we can do something a little more fresh each time.

I'm really looking forward to it. But for now I'd like to look back on last year's Budoukan show.

Budoukan . . . . . . man, that was so long ago *laughs*.

Yeah, it's already been three months *smiles*.

I'm just really glad we were able to have a show there safely for the first time in a year. Like thinking about how to ventilate and things, and the flow of the show given that we'd be separating it into two parts and I wasn't sure if that'd work but it seems like it did. From the opening to the break, and then from there to the end it all felt like one story, and we had the pierrot appearing too right? I think that helped the second part of the performance.

Certainly I felt like the audience enjoyed the pierrot's appearance too like during the intermission.

It was Sakurai's idea. Like he wanted people to be able to enjoy the period of time where we had to ventilate too right, and to make that part of the performance, and I'm super glad it worked.

Unlike the live stream, it wasn't organized into separate parts of acoustic and band sound right.

Regarding the acoustic version of the set for the  "Show After Dark~", I mean it worked perfectly but rather than think oh, let's just do that again, we wanted to try something a little new but in keeping with the same atmosphere of the "Show After Dark." So from there rather than separate acoustic and band sound, we jumbled them all together in order to illustrate the various facets of the "Show After Dark" in a fresh new way.

I see. How did you come to the decision regarding which songs would be in the first and second acts of the show in that case?

Sakurai played a huge part in thinking about the flow of the narrative. But you know I was also thinking about how it'd be good to start off with "DIABOLO." The whole thing had to have that feeling like ok this is what happens when the curtain falls. At first it was decided that both acts needed a clear opening and close and from there we fiddled around with things till it had the right feeling.

In the previous issue, Sakurai-san told me you didn't even put your own songs on the list *smiles*.

Yeah *smiles*. But somehow all of a sudden "Rakuen" and "Shanikusai-Carnival" were on there though *smiles*. I'm glad though because they did suit the atmosphere. It's just because there was such emphasis on the atmosphere, and song choice was instrumental in creating that, and not because I was like oh well, my songs don't fit.

Songs like "Rakuen", "Shanikusai-Carnival", and "Lullaby - III" all do contribute to the atmosphere in a magical way, it's incredible.

It's true, they did fit well, I realize that now that we've tried it. Even though I'm not that one who suggested them *smiles*.  Having the torchlight really fit well too I think.

Anything else occur that left an impression?

The opening of course. From the SE to "DIABOLO", I thought it was right on point, like yes the curtain has fallen here we go, just perfect the whole thing.  And then the second act closing with "Alice in Wonder Underground" with the pierrot joining in really gave that incredible feeling that yes, things are coming to a close. I thought there was this incredible unified feeling throughout.

It was also your first time performing "Go-Go B-T Train" and "Koi" live.

Yes, right. Naturally they ended up as part of the encore which worked out well too right?

Regarding "Koi", while creating the image and story for it while writing the song you must have had something in mind so upon seeing the image created during the live did you find it different than what you had wanted to try to do?

I think it got pretty close actually. I even asked the lighting people to make a few little adjustments for me you know. I told them I thought it'd be better if the lighting had this feeling of transparency and because they did that for me it really fit the image so I'm happy about that.

So it was you then who requested the lighting.

Usually I just leave it to them you know. Before the actual show, the lighting team was practicing and I got to see what they were doing. When I saw what they were doing for "Koi", I asked them to make it a little lighter, less saturated in color, because I thought it'd be a good way to illustrate that feeling of clarity.

I heard you also had a new ear monitor.

Oh! Yeah! It finally got to make its debut. I was pretty much prepared for it. Even though it has its good points and I knew that, I'm not usually in a position where I can say that yes this one is the best without question! You know? But this time I feel like it worked really well.

Had you not used one till now?

For some songs, like with Jupiter, I had the counts for when to come in. It was only for a few particular songs though.  Those times rather than get one suited to me, I borrowed one from the PA people. So this was the first time I had my own ear monitor for all of the songs. Until then I guess you could say I just performed with whatever I could get.

And how did you find it, actually?

Of course it felt lonely because the sense of realism is diluted when you can't get a proper taste of the venue's atmosphere. Although I guess given that the audience wasn't allowed to be vocal, that sense of realism wouldn't have been there anyway.

But how did you find it given that you were wearing it from the start all the way through?

Well I had already used one for the original "Show After Dark~".  Because it was absolutely necessary for the acoustic part. So, I kind of figured that's how it would be like when I'd use it for the Budoukan show, and that's why I planned on using it. But you know it's not like I had pre-planned it really, it was more the result of knowing this was a long awaited performance, and so I figured I'd give it a try.

Which sound do you listen to mainly with your ear monitor, Hoshino-san?

Basically the same as before, drums and vocals. Generally I have the drums and my guitar parts as the focus, with the vocals as like a background, and usually as long as I have those three parts, I'm good. But when you wear an ear monitor, you do hear all five members really well.

That being said, has wearing one changed anything for you, Hoshino-san?

I mean it's incredibly vivid you know, you can't cheat. So if someone messes up, it really stands out *laughs*. I mean there were times I was worried about it at Budoukan, but what can you do? *smiles*

That reminds me, speaking of Budoukan, in the pamphlet used there is a picture of you applying Sakurai-san's lipstick. I'd like to hear the details on how that came about.

Well, see, that was a request from (our designer) Akita-san, he wanted my hand to be the one putting on Sakurai-san's lipstick. I think he was going for a playful feeling you know like maybe, maybe~ if people see this it will give them . . . . . . ideas. I thought it was very on brand for Akita-san.

How did it feel?

Like I was grabbing Sakurai-san's jaw too firmly *laughs*. But I tried to do it with restraint! *smiles*

There was also a tour announced for fan club and mobile members. What kind of tour do you think you'd like to have?

Even though our previous scheduled fan club and mobile tour was cancelled in the end, I don't necessarily want this one to just be a transfer, but about what can we do that's new this time, I think I'd like it to feel special. It's been a long time since we've been in live houses too,  so I'm looking forward to that.

It's even the year of your 35th anniversary, so it seems you'll be immersed in lives.

Right.  Even amidst everything going on in the world. That's why I'm so happy we get to be able to have a tour, in addition to it being our 35th anniversary, and I know there's a lot of apprehension about it all, but I think if we're able to overcome our fears we'll have fun. I think we have to just go out there with that feeling that it's something special.

Finally, if you would leave us with a message please.

I really am glad that we're able to have a tour for fan club and mobile members, and I hope that soon we'll be able to celebrate together. Let's enjoy it together.

[nopperabounet]

In celebration of Toll’s birthday~ 🎈✨🎉

I hope his birthday live went well, and that he has an amazing time with his friends and loved ones!

💖💖💖💖💖💖

Fish Tank 95 Interview with Yagami Toll Reporter: Okubo Yuka Translation: Lola

 So how did you spend this New Year of 2020?

New Year's parties all the way *smiles*. I also went home to Gunma, met with some old friends that I've known since grade school and who are still in that area, and with people from my first band. Some of my friends who work in construction were also there so there were people from all sorts of walks of life.  And then there was like Tago-kun from TAGO STUDIO, the owner of Takasaki's club FLEEZ, and a whole bunch of people in the music industry. A real variety of people you know.

Didn't you also have your traditional drummer's meet up?

I did. There was about 200 people there this time too. There were mainstays like Takahashi Makoto-san, and ARB's Keith-san, and like D'ERLANGER's  Tetsu. So I was super busy with new year's parties all the time.

You had a bustling beginning to the new year. However, I think I would like to look back at "THE DAY IN QUESTION 2019." The first day was in Takasaki in a new venue right?

The venue was well researched beforehand to make sure the acoustics were good, and that it wouldn't be hard for us to play there. That's how it felt to me anyway. Also because I'm a local, I felt like I could relax, so there's that too right. I think it was like this for all of us but, it was also nice to have our family and friends come too.

Did it feel like being home?

It did.

Which songs did you request to play this time?

"Jonathan Jet-Coaster", and "Aku no Hana."

I thought it was very interesting to have "Jonathan~" be within the first half of the show in terms of the flow.

I realize it doesn't make much sense to have "Jonathan~" and then go into "Hamushi no you ni" *smiles*. But to put it simply, I just like that song *smiles*. Because it's fast with its 8 beats right? But it's not a song I can play without practicing. Same goes for "Aku no Hana", I was watching an old clip of live footage and back then I didn't use clicks even though it has a super fast tempo *smiles*. Because of that it's like it's become a whole other song now. Like even the intro back then seems super slow at first, and then the song suddenly picks up speed just as Imai is about to come in on the guitar. When I watch it now it all seems so silly to me you know *smiles*.

Now I'm going to have to re-watch it myself  to try to see that*smiles*. Aside from that was there any part of the set list that left an impression on you?

I thought it was cool to start with "Muma- The Nightmare." For some reason we've always done it as the first encore song in the past but having it as the opening to the main set was way better in my opinion.

And how did you find the new band arrangement for "SILENT NIGHT"?

That was Imai's idea to include the bass and drums. He was like, "No rest for you this time!" *smiles*.Originally we didn't have a part in the song right, so Yuuta and I would get to rest. But now it has a different feeling to it, and I'm happy with how it turned out. We even changed the amounts of snow for "Snow white" according to the different venues. That was another performance I was happy with.

It was also your first live performance of "Datenshi" in Takasaki.

I thought it was quite prudent to do so seeing as the single was coming out *smiles*. It's got this clever riff right? It shows off Imai's true skill. I just think he's incredible at making riffs.

It was also your first time performing in Yoyogi Stadium, so how did you find it?

It was a career first. Honestly, I was super nervous *smiles*. I even surprised myself with how nervous I was. I mean now I can laugh about it but I was so nervous I made a few mistakes. I messed up in about six places. And it was in spots where I don't usually mess up. Typically, if I do mess up, it's only in about two or three places *smiles*.

I see. Were your mistakes around the beginning?

No, not even, the worst one was during "LOVE ME." Because I screwed up right from the intro. I'm not sure you can tell where I messed up in other songs because it happened in the middle. But I knew I was completely out of sync, and because that mixed me up I didn't really know what I was doing *smiles*. Afterwards I double checked things and realized I screwed up more than I thought. But then because it all got exposed with "LOVE ME"'s intro, there was just no way for me to keep up with the clicks.

So your nervousness hadn't dissipated even at the end with "LOVE ME"? I wonder, what made you so nervous this time?

Because it was the first time we had an audience seated like that. It ended up being far more frightening to me than Budoukan. Part of it was how far the hall goes, and part of it was that there were people on the sides as well, so that no matter where I looked there were people.

Really? Was it any different than Yokohama arena?

The seating in Yokohama arena is more low to the ground even if it is spread out, but in Yoyogi there are people everywhere, even up and to the sides you know. Well~ I guess I'm just still inexperienced with these things after all *smiles*. I don't know if the others said it but I'm pretty sure everyone felt the pressure you know. Of course it's different with Budoukan because we're all familiar with it. So it's like we have this sense of awareness there *smiles*. As for Yoyogi, I had some free time so I was doing personal rehearsals on the 27th. Then it all went wrong *smiles*. Usually practicing beforehand builds my self-confidence, but I guess it didn't this time. I wondered afterwards how could I still mess up even though I practiced the day before yesterday? And here when the trip there was smooth I was like hey, maybe we should play in Yoyogi every year.

*smiles* Maybe that's why the cheers were so loud when at the end it was announced that the next end of year performance on December 29th would be played in Budoukan.

I just wish Budoukan had been built in Shibuya.

Maybe they'll relocate one day *smiles*. At the same time as the  Budoukan announcement, you also announced a new album to be released in the summer, and an autumn tour.

I think it was great we could do that. I'm in the middle of rehearsals for the new stuff now. I've been practicing them for the past few days.

Have you been told what the new theme for the album is this time, Yagami-san?

No, why what did he say this time? Did he say it was techno rock?

No, the only hint he gave was that it was seven characters.

Techno rock . . . . . .nope, that's six[1].

Is your impression that it's going to be "techno rock" this time, Yagami-san?

I've gotten songs from both Hide and Imai so far right. I got to listen to them during our meeting at Victor Studios but, when I got to listen to Imai's, my feeling was that he was returning to his source, at least that's the nuance I got from it, and it's what struck me the most. It's super simple. This might not be the best way to say it, and I could be wrong but, I'm not joking when I say it even reminded me of "HURRY UP MODE" *smiles*. It certainly has that feel of BUCK-TICK's foundation so I figured that must be what Imai is trying to go for this time.

I see. Returning to the source is also seven characters[2].

It's just the impression it gave me. From the demo tape.

Which song were you listening to?

Imai's first one. It was done simply then. Now it's being pruned more and more. And more and more keeps being incorporated into the song so it might end up being closer to four or five minutes when it's done. Like with "Datenshi" being around three minutes right? I mean it's super tight. If we keep doing things this way, that's what gives me that returning to the source feeling. I'm guessing because of that Imai's aiming for something simpler. As for Hide, nothing has changed, Hide is as he always is *smiles*.

So have you been making any progress in terms of the order of the songs for the album?

Well, we'd have to have more songs for that *smiles*.

Beginning in May, you will be holding a tour for fan club and mobile members only, and you also have a Blue Sky live that will be worth checking out.

I have Harada Kenta-kun's birthday live too, and then KANAME-san's birthday live as well. It's an irregular schedule for me except for the month of August *smiles*. Because KANAME-san's 60th birthday is in April. But I think it'll be fun because it's a birthday event.

You seem excited.

In truth I've been practicing for that too. It's why I've been so dead tired in rehearsals yesterday and the day before that. Because I go into "Sergeant" mode *smiles*. When I get to the studio I might go to the bathroom but after that it's no breaks, not even a few minutes outside for an electronic cigarette. It's play, play, play! *smiles* But you know let's say an actual concert is around two hours, then there's just no way I can be practicing for two hours before hand. I can't practice to that extent before a show. But I also can't be letting the pressure get to me either. It's why I even prefer bequeathing the drum keys to someone else too. Previously, at some point when I was talking to Tsuchiya Masami-san, I told him how in the past when I'd get up in the afternoon I'd play the drums until it got dark, and he says to me, "Oh, that's so little." *smiles* "I play guitar for twelve hours, at the very least." It was like he was saying that if you're unlucky, then you can make your living playing guitar. He is an incredible person so of course he will think differently. I had always seen him as this genius right, but of course he doesn't see himself that way, it's all about practice. Even when I'm not playing, I'm always thinking about it. Image training is important as well. Until eventually, you can perform a flawless live with a smile. I'd be happy if I could accomplish that, but I have a ways to go yet.

It's something you learn throughout your whole life. Finally, would you please offer a message to everyone looking forward to the live in May?

I always say this but, I just hope I'm in good health for it and don't catch a cold. I'd like to be at my absolute best. I am looking forward to showing you all our new BUCK-TICK stuff so please come. I will be waiting for you all.

 [1] Techno rock or "テクノロック" as you can see in Japanese is in fact six characters despite not being so in English.

[2] In Japanese, returning to the source/roots is "げんてんかいか".

[nopperabounet]

Let’s all enjoy some ISSAY today~ as a treat!

I thought it would be nice to show how very loved Sakurai is today on his birthday~! And what better way than sharing ISSAY’s kind words, he just . . . glows with love for Sakurai and it’s beautiful to read.

♥ ♥ ♥ ♥ ♥ ♥ ♥

音楽と人- PHY vol.15 February 2020 Special Talk with ISSAY (Der Zibet) Parade III ~ Respective Tracks of BUCK-TICK~ Text by Kanemitsu Hirofumi Translation by Lola

 In my humble opinion, the song you did for the tribute album felt like it was made for you and Der Zibet didn't it? Even Sakurai-san said so, he told me, "'Ai no Souretsu' is perfect for ISSAY-san . . . . . ."

I am so pleased to hear that. When I was asked to participate in the tribute, my immediate response was, "Of course I will do it!" but then I became incredibly anxious about it you know.

Due to song choice?

Yes. Because when I was ready to try to select a song there is just such a vast amount to choose from as you would expect from a band that has been active constantly for the past 30 years . . . . . .

True *smiles*.

I spent several days listening to different songs but because they have so many good ones I ended up thinking, "Oh, perhaps I will do this one. But then again, this one is also good. . . . . . .ok, I'm lost." So I texted Atsushi-kun about it *smiles*.

Ha ha ha ha ha ha.

"I'm having a hard time," I wrote *smiles*. And then I get, "You could do things in this way, yes, but you could also choose by another means."

That was his advice?!

It was but I ended up ignoring it *smiles*.

Ha ha ha ha ha ha!

Although at first, I did think I would give up on choosing a song in this way. Since there is such a great number of songs to select from, I decided to discuss with HIKARU (Yoshida Hikaru/Guitar) which ones might be interesting from the band's perspective. When it came to selecting songs in this way there were only two or three that I thought I would like to sing with Der Zibet even though there were a number of others that I wanted to try to sing myself without the band.

And which songs were those?

That's private!

Ha ha ha ha ha ha ha!

I could not even tell Atsushi-kun *smiles*. Anyway, so I sent those few songs to HIKARU and asked him which one he thought would be best, and he told me. "Ai no Souretsu" was in first place. In truth, I also thought it would be really interesting to try this song with Der Zibet because it was a song I wanted to try to sing, and so that is how it got chosen. It would seem as though my thoughts and HIKARU's were on the same wavelength.

And what was it that you were thinking, specifically?

I was thinking about the image the music of "Ai no Souretsu" possesses. The lyrics contribute to this as well, this feeling of loneliness, and isolation. In addition to that there is also a romanticism to both. This is something that we strive to portray through our perspective as well. And I guess it was about three years ago right? When I saw them perform this song in Budoukan, it left a deep impression on me, it's a memory that stayed with me. I thought that if we did this song, surely we could do so in a way that would express BUCK-TICK's views without fundamentally changing them while also being able to express Der Zibet's sound.

What did you think of "Ai no Souretsu" the first time you heard it?

It was absolutely Atsushi-kun's style. I mean it has this immense feeling of . . . . . .becoming lost along your way, and it calls to mind an empty landscape. What he depicted in his world is also incredibly close to my own perspective as well. While he and I might cope with this feeling of solitude differently, it is something I understand all too well.

And how do you cope with that ISSAY-san?

Rather than coping, it's more that it is a basic part of who I am. So rather than confronting it, I acknowledge that this has always been a part of who I am so there's nothing to really be coping with. It is just something that is there.

You don't think Sakurai-san feels the same?

Well, I think he might. Otherwise, he could not do what he does. It's just that with him, when he sees this part of himself, his heart wavers about it, and it's like he needs to change it, and I feel as though this pattern of his differs from my own.

In what way?

The thing about Atsushi-kun is . . . . . .and this is just my impression but, for instance when I first saw him I was utterly astonished by him, by that feeling of being lost and of having a wavering heart. And I could not help but wonder what was it that caused his heart to be so? What is it that he keeps searching for with all of his heart? That is the gap between us that fascinates me.

I see. Even though it's sad, you can't help but wonder what the sadness is about, and what the loneliness is about as well, and you end up worrying about it until the very end.

Yes. And when it comes to his heart, I feel that he is a perpetual question mark.

A question mark?

Yeah. May I say that? *smiles*

I am asking you to explain *smiles*.

Various people have varying interpretations of him, and I realize that is not quite an answer but, the thing about being in doubt of his feelings is that of course you cannot say with certainty what it is not without a doubt, and it is this constant vacillation that makes me question why in the world he is like that, and that is why to me he is a question mark.

Is this why you feel you are opposites?

I am someone who by nature my songs are a performance, but in his case, he is the opposite because he is being sincere. That is the slight difference between us but as far as I am concerned because it is something I understand well, it is easy for me to get into it.

I see.

But you know for a number of years now, his strength has felt incredible to me.

His strength?

I could feel his sheer strength to stand there on his two legs, that took guts.

How did you find the sound side of things with this song?

We finally finished the track down but all in all, everything went rather smoothly. As I was just saying before, I wanted to take care to have that romanticism along with the solitude and loneliness, but I was aware that it could end up having a very bleak sound. But I think that's where HIKARU's sense made a difference so that it came out rather well didn't it?

It did.

We have songs with similar outlooks right so because of that we had the same approach but while being aware that this is also a cover. I kept wondering what to do about that, and that's when HIKARU had the idea to have it be a tango . . . . . .even though the song isn't a tango at all *smiles*. I think it really suited the song. It's like you're in a different era. Within that sort of sound I could really allow myself to sing freely *smiles*.

You sang freely? *smiles*

Yes. Because this time the image was clear in my mind when it came to singing so I figured I would do so honestly. Without anything extra or gimmicky, or any weird vibrato either *smiles*. Once I knew this is what I wanted to do, I thought I could stand up and sing it frankly.

What did the members think of it?

We talked about it the other day at the after party for the Yoyogi show. I got quite drunk you know but *smiles*, I do remember Atsushi-kun complimenting me on it like, "It was so good."  He also asked me, "So . . . . . .you didn't find this song difficult to sing did you?" *smiles* And when I told him, "I did, actually." He said, "Of course, it is a very difficult song after all."

Ha ha ha ha ha.

You know even our way of writing lyrics is different. When it came to writing this song, Atsushi-kun is very symbolic in his imagery and he uses these impactful words and phrases in the refrain. I do not really have that ability with my writing, and as a singer, these sorts of lyrics are incredibly difficult for me you know. I feel that is what makes him incredible as a vocalist. So you know . . . . . . I absolutely couldn't mess up! *smiles*

But you did make it work as a Der Zibet song, ISSAY-san.

If that is what you think, then I am happy. Because it's a song that I really love I think I'd like to try singing it during my own lives as well. No matter how the arrangement is, I would love it if one day I could sing it with Atsushi-kun, as a vocalist that would make me incredibly happy.

I would absolutely want to hear that. While it's true that your outlooks are very similar, you also filled the song with incredible love.

It is a tribute so would it not be terrible if I did it any other way? It would ruin the whole essence of it from the start. After all it is my very love for the piece and for them as musicians that made me unable to do it any other way, and I think that is what made it so enthralling. We may not be the same as people but, I think it's important to accept that about each other, and our differences in how we do things is something that I thought about a lot as a vocalist.

You created a wonderful tribute.

Because I sang with love for BUCK-TICK as a band, and with love for Atsushi-kun *smiles*.

[nopperabounet]

Have a lovely weekend, everyone!

♥

音楽と人- September 2020 Interview with Sakurai Atsushi Text by Ishii Eriko Translation by Lola

 Run Away With Me, For Eternity

 At long last it is complete, on the 21st of September, BUCK-TICK's 22nd original album "ABRACADABRA" is sent out into the world.  As mentioned in the previous issue, recording had been suspended for a time due to the situation with the corona virus thus compelling the addition of a rock and roll number, and the decision to give the album a title that sounds like a magic spell among other things like trying not to be influenced by the state of the world. Just as Sakurai was telling me how he would rather not be influenced by corona his mood clearly plummeted, he was thinking of a person he is unable to meet due to distance, and how the music was a way to bring them closer . . . but it feels like it was all for naught.

From a positively wicked and reckless idea of running away, of dancing while laughing through the darkness, comes this fantastic unrestrained alternative that somehow seems to be present throughout all of the songs in this unbelievably energetic way. It differs from gothic or new wave sound, coming across as mysteriously mature in a way that breaks from anything they've done before, and gives the impression that this is yet again a new chapter for them.

When Imai Hisashi first brought forth the key words of "breaking from the norm", Sakurai Atsushi then discovered within that the idea of "escape". I think his being able to use these words in an affirmative way is what drives the entire energy of this album.

 ~~~~~~~~~

 So you completed a really good, and fun album.

Yes.

How do you feel about that?

I feel . . . . . .satisfied. Personally, I feel like it's incredibly energetic, and all these various energies give this impression of flying all over the place.

Yes. Going back a bit, during the interview when "Datenshi" came out, you held back from saying too much about the following single "MOONLIGHT ESCAPE" although you did say you thought it was a good song, even so far as saying you believed it your best thus far.

Yes.

I don't disagree of course, but I did wonder about your reason for thinking that, Sakurai-san?

Right . . . . . . I'd say it's because the melody and the story blend together incredibly well, it's a good fusion. You know, I think I was able to depict well the image I had in my mind. There are also different listeners too right, and I think their way of grasping the story will differ as well but, this was something I was really able to project myself into so I thought maybe this would bring me closer not just to the listeners but to those who empathize as well. I think that's why I feel satisfied with it.

Certainly with it being so personal for you, it will bring your listeners closer to you. I also have this impression like you're offering your hand from on high, reaching out to guide them to their escape. There's this feeling of being pulled up firmly, and being properly sheltered in the song.

Ah. I'm so happy you said that. Well, maybe this is presumptuous of me but, there is someone who looks up to me to be that, that hand, so if they are able to get that feeling from this story in part then I would be incredibly happy to hear about that.

These are your true feelings then. By being a song for a certain person, it is a song about being a guide.

Yes, that's right. Speaking of the person concerned, I've had these thoughts for a long while too because they've kept persevering this whole time. So that's why . . . . . .I hope maybe with this I can convince them of that.

You are completely and totally affirming escape. There is absolutely no guilt-tripping in the words.

Exactly. That was my first step, and from there I thought of various things. Escapism tends to be viewed negatively by the world, but the thing is being able to stay positive and to keep doing your best despite that is a virtue as well. I mean simply having that kind of self-assertiveness is incredibly difficult, so as far as I'm concerned it's formidable. I think I've come to appreciate that to the point of being able to say bluntly, "It's alright."

I also felt like the whole album had that tone of escapist words.

Oh, I see . . . . . .I think, it might. Yes, I see *smiles*.

You hadn't thought about it at all?

I hadn't thought about it on the whole, no. But as I said previously, I did think the album has various types of energy throughout that feels like flying around so I wonder if that's why . . . . . .you've just taught me something.

Ha ha ha ha.

Of course you're allowed to say words like, "Please do your best to think positive" in general in the world but, I think it's better when there's other various energies too. In order to live, or even in order to choose a different path . . . . . .I just want to do it even if it's just within a story like . . . . . .wait, what was I saying?

Well, we were talking about how the whole album has a very strong escapist vibe.

Well, it's pessimistic. I mean, wouldn't you say I'm a pessimist?

No? When I listen to the album, it's super uplifting.

Oh, really? Ah. . . . . .for I am speaking up for those that need it[1].

I'm grateful for that *smiles*. Also you didn't really write gloomy lyrics this time, Sakurai-san. Although when I read the lyrics as always you are death adjacent, just as you always write about parting.

Yes, yes. I'm not sure how to say it? It's a little positive in part. Like just by being a minus it ends up being a plus. I really don't know how to explain it *smiles*. I do think it's better when it's not all pretty things and cheerful things. I think I was able to vent you know, by using that energy of affirmation. I don't think there was enough of that till now percentage-wise, and along the way I ended up retracing my steps and seeing how I had completely glossed over some things too, but now, I'm coming to grips with it bit by bit. So I hope for those who listen, and for those who carry it with them as well, that they may think, "Oh, this is pretty good." Because even I tried to push myself to the best of my ability with this you know.

Is this in relation to the corona pandemic?

No, it's almost completely unrelated. Because the whole time I kept thinking about how I didn't want it to affect me. Though I think that wasn't the case entirely. Well, there's one song that's different in this way, "Eureka".

Imai-san said that he'd written it in one shot because he had gotten more and more annoyed at all the restrictions put in place due to corona.

Yes. Imai-san told me, "I want to do something that will feel like a relief." So from there that's when the word "ABRACADABRA" came to me, and that was certainly influenced by the situation. But in terms of being related to the corona virus, that's really about it?

Like about the pandemic spreading you mean.

Yes. Like, maybe with this seemingly fake magic word things will be ok *smiles*.

To say that you didn't want to be influenced by the corona virus though, that takes a strong will doesn't it?

Right. . . . . . . .um, the thing about this kind of misfortune and disaster that is happening to everyone is that it seems like everyone is ending up depressed, so I became kinder but I mean, it's an incredible pain in the ass.

Ha ha ha ha ha ha ha ha.

Or rather it sounds contrived. Yet in spite of everyone getting more and more annoyed, there just ends up being this tendency to become kind, oddly. So it's like, " . . . . . .are they just donning a persona?" *smiles* So it was my thinking that if that's the case then I'll put all my thoughts on the minus side.

In the end though, your minus x minus created a super plus as a result.

That's right. Because I think that if I write a song that's negative, then the people who listen who have such negative thoughts end up feeling really uplifted by it.

That's true. "Villain" is like a guarantee of that right? So the title came from Imai-san, and then you drew from this by using the word "biran[2]" in Japanese right?

Yes. I'm not sure anymore whether it's because that's what lingered in my mind when I first heard the title or whether it was just because I wanted to use that word but either way it was not something planned on.  It's something that just came to me you know.

So you don't think this song is the ultimate masterpiece in collaboration between the two of you?

Oh. I mean I hadn't even seen Imai-san's lyrics from the start though, I don't even think he'd given them to me yet. So I was just writing lyrics for the parts I knew I'd be singing. We never even discussed anything in advance about it, so it just felt like it was tossed at me, like ok, here you go, bye[3]!

. . . . . .you're telling me you made something this good, without even talking about it?

Yes. I think it turned into a fascinating song this way.

You also peppered in references to your older songs which made me grin like with the word "scoundrel" and "being dissolute", which creates this double meaning, and that to me is THE absolute beauty of  BUCK-TICK.

Right. But well that's because you're able to imagine a wide variety of things from the title isn't it? Because during recording I was thinking about what kind of story I wanted to tell. Something you could get addicted to, in a good way.

So they ought to be a scoundrel. Rather than be virtuous, be a villain?

No, no, that's not what I'm saying at all. They are virtuous, as they should be.

Ha ha ha. I'm talking about within the story itself.

Well rather than say be a scoundrel . . . . . .it's more that I'm saying it's not bad to judge evil as evil. Like for me, in this current era, there are people who attack others anonymously[4], and so that's what I wanted to sing about.

Ah, you're right that does happen these days.

But of course, a person who is genuine would never become a villain. As for the yearning to confront the villain, that's something that's been there for a long time too you know. So I think that's also a contrast for me to put that in this song.

"URAHARA-JUKU" was also interesting. Although at first I did think the lyrics were Imai-san's.

They're, well . . . . . .from both experience and imagination I guess? Yeah, I was just imagining all these strange things, night after night.

*cackles* So what, you're thinking night after night and what came out of that are the "girly girls[5]" of Uraharajuku?

Of course there's always evil lurking somewhere right, the city is full of danger. So that was my setting, a city where young women flock. A place with incredible energy, with extreme hustle and bustle, but the thing is even within that there's usually someone evil skulking.

That sort of stalker behavior isn't anything new though is it? Recently a story came out about how it's an issue on SNS[6] as well, with people using it to abuse others.

Oh . . . . . . really?

Of course, I think it's also on the news pretty often, about how much this sort of thing hurts people daily. However, when it's in a song it becomes more wondrous, it gives the impression of being forced into the phantom's world.

That's true. Yeah. But I think even I wanted to approach this with a touch of realism. As I said before it is in part experience . . . . . .well, not that I've experienced the world at all in the way that young women do so that part is imagined. But it's something that bothers me. Which is why I wanted to do it I guess.

Along that vein, it makes me wonder about "Maimu maimu".

*snickers* Is it too telling if I say . . . . . .this too is based on experience?

Well no, it's the best thing for this kabuki[7] style.

Yes. So this is also based a little bit on experience, and filled with the power of imagination. So please use yours too *smiles*.

Now this is a song that is playful and full of vigor.

I'm trying not to be so reserved anymore. It's like, whether it's real or not, I think when I started to poke around at all the nooks and layers it felt like in order for me to enjoy it, I had to go all out for this story.

I thought this whole manner of eagerness and playfulness was kind of Imai-eske.

Oh. . . . .do you think I've transformed into Imai?

I have a theory you've assimilated each other.

Really? Well, I don't think I have Imai-san's powers. I think I'm just a little bolder now.

Conversely, when you look at "SOPHIA DREAM", the lyrics are Imai-san's but oddly they sound Sakurai-eske.

. . . . . .*carefully reads the lyrics once again* Ah. I see what you're trying to say, yes. Because he says things like "love" right. And "to love one another". Ha ha ha. I see.

So you get what I'm saying?

I do, yes. I'm not sure why it's like this though. I think I may have become more abstract perhaps than I have been till now.  . . . . . .meanwhile he's become more romantic hasn't he? Imai-san.

You're asking me? *smiles* Conversely, I'd say you have become bold, Sakurai-san.

Yes. Well, bold. I feel like I just tried to be more direct.

Be that as it may, "Tsuki no Sabaku" is the perfect Sakurai-style song. You're able to hear how it is the one story that is purely escapist.

Ah. If I say this has a touch of reality, it's because I'm asking, "Where have you been, I wonder?"

This is something you can do in fiction, by being about escape it's like you were wishing for a sparkling world this time.

Right. Well, I'm not trying to argue that point but, it was like I wanted to ask what's so bad about running away? Is it so bad to escape? Something like that. Of course one way to do that in reality is through dreams so it felt like I was asking with all of my heart, please run away. Because there are a lot of people, and children too, that for them they can't be free any other way. So I hope they'll enjoy this as best they can. Within this grown-up world.

I know I've already asked a number of times but just to be sure, your gloomy mood isn't related to the corona virus at all?

No, it isn't. It wasn't even a concern at the time. Because I wrote "MOONLIGHT ESCAPE" at some point last year. It was a time when there was not even a single word about corona. Originally we had decided to do a fan club only tour in May, and I felt like if I couldn't do it, I'd feel terrible you know but that's how things went. But back in February and March, I got music to write lyrics for, then I started recording vocals as well. Of course, bit by bit the situation at work changed, but back in March there was still this kind of mood like, "Let's look forward to the Olympics!"

Ah, you're right.

But then celebrities like Shimura Ken-san[8] passed away, and that's when I first started to feel it hit home. That's why I didn't want it to affect my work at all. I mean I just wanted to get the work done without it influencing me. But of course even so, there was that part of me that was tense. However, by the time the state of emergency was declared I had already finished the vocals for two or three songs.  And I had plans for what to write in my lyrics as well. Because of that the only new song that came out of the situation was "Eureka" as I mentioned before.

I did wonder if you ended up thinking, "I did this because of corona" due to the current situation.

I did, yes. It was already during a period when I was feeling kind of off, and so I guess the situation was getting to me more and more.

Would you say that you felt that you simply wanted to create a work of fiction that was fascinating with BUCK-TICK's mindset?

Rather than say it's BUCK-TICK's, I'd say I wanted to enjoy it myself.

What's great about it to me is, you don't seem to be dragged as much towards death this time, Sakurai-san.

. . . . . . there is literally a song that starts with, "I'm unsure whether to live or die" though.

Ha ha ha ha! Of course yes, in "Kogoeru." And yet even despite being steeped in death, there is also a certain feeling of it being justified.

Yes, there is. Because it's another way to escape as well right. But you know I was also thinking about the mothers of entrance exam students and how they shouldn't be listening to this song because of the lines like "I keep falling down" and "I'm slipping".

That's what you were thinking about?!

It was.

Ha ha ha ha ha ha ha ha!

More or less *smiles*. I also thought about how it's kind of in poor taste.

But hasn't the concept of "falling down" been a part of all of BUCK-TICK's lyrics? *smiles*

*chuckles* That did end up crossing my mind too, and then I was like, "It's fine, even so."

From the pain of falling to taking joy and refuge in fantasy, I mean that takes a singular kind of strength you know. That's what I feel.

Thank you for that.

Is that what you wanted to convey, personally?

It is, yes. I think because in the past, when it came to running away I used to also think, "See, you're just a coward." But now like, if I could say something to my younger self it'd be, "It's absolutely alright to run away!" Or I wish I could say, "It's even ok if you don't go to school!" But rather than keep saying that firmly, I would like to say, "It's not impossible, you can do it."

If we look back at the period of time around "Datenshi" last year, you were being pulled towards your dark side, Sakurai-san. You had also become the same age as your father when he died, and you were quite depressed.

Ah, yes, I was.

It appears as though you have changed between then and now, is it in great part due to "MOONLIGHT ESCAPE"?

It is. Yes. Because I put my feelings into it without over thinking. "MOONLIGHT ESCAPE" is incredibly personal to me, my heart's in it, and it appears as though I've been always saying this for a long time but because I was able to really get into the story and the music a lot better, it's more true to my feelings. And that's what gave me the energy to face the album bit by bit. I was able to think of all sorts of directions to go in and think, "This is good." I think that's why even the negative parts became an affirmation.

It's incredible that one song could do that isn't it.

It is. I guess it's because I had my feelers out due to being in work mode but, when it comes to the negative parts, these were things happening in reality . . . . . .a kid dying due to being abused, even though they sent out an SOS  their life couldn't be saved, and that's just one example, I saw several cases like it. And I kept thinking how they would be better off if they didn't put up with it and were able to run away you know. My own negativity and that sort of negativity negotiated things and I mean, even for me it was incredibly liberating.

By immersing yourself in your work, your feelings also shifted upwards.

You're right. Yeah. I thought I'd do things with enthusiasm. It began the same as always, with Hoshino's songs coming to me first. Of course, I couldn't really tell what form the whole album would take yet but, during that time I started on "Tsuki no Sabaku" and "Kogoeru". After that I got Imai-san's songs, and I asked myself, ok, what do you really want to do? Whatever it is, do it with everything you've got. I didn't know how many songs I'd be able to do that for, but I wanted keep that stamina going.

Is that why even though you began "Kogoeru" with " I'm unsure whether to live or die", once we're able to look at the album as a whole, we can see that your writing is also incredibly vivid?

*chuckles* I suppose so. Yes. I had this feeling like, "I'll commit to writing this!" "I'll commit to singing this!" And because the images manifested into the words of a story so perfectly, I felt like, "I'd love to sing these lyrics as soon as possible." That was a new thing for me.

Isn't that super positive?

Well, it is for "Maimu maimu".

Ha ha ha ha ha! Amazing.

Mmhm. I was able to have fun with it.

I think by having these various escapist stories that we can enjoy, the whole flow hits the mark perfectly. Which reminds me, I heard that there were some differing opinions regarding which song should be last.

Yes, yes. So at first it had been decided that "Boukyaku" should be the last one but then it turned out that Imai-san and our manipulator, Yoko-kun, had been scheming the nights away working on "Eureka" and "PEACE". These two songs are linked, but as for me, I didn't know that when the time came to be choosing the last song right. But then I began to realize by putting "Eureka" last . . . . . .it ties everything together with "PEACE" right? I was on the verge of being like, well, ok, but only because they're connected when in comes Yuuta saying no, he wants the album to end with "Boukyaku." I wanted it to be "Boukyaku" too but the way things were shaping up it looked unfavorable *smiles*, but somehow everyone ended up going along with the opinions of us two spoiled children.

When it came to being playful, you did your best to do so with enthusiasm but even so, you still wanted to keep some weight by keeping this song as the last one?

Exactly. Well, because I figured there were plenty of playful parts throughout so to finish, I wanted to get people to feel at peace. Whereas I also thought that if we end with "Eureka" then there's only one mood.

So that's why you wanted to shift to a soft mood.

Yes.  I'm quite pleased with "Boukyaku."

I thought it was a new stand point for you, Sakurai-san, to say towards the end of the song, "those days are irreplaceable."

Ah, but while I'm saying of course . . . . . .they're not, somehow I do wonder if maybe that might have been influenced by the corona virus. Because in some respects there's this feeling of futility that came to be pervasive by moments. Well, that's something I've always felt and thought but, with the current environment of this era, and given my own way of living, I guess I've come to express it a little differently.

As of right now, no one knows when concerts will be able to be held properly again but, what are your thoughts on that?

Hm. . . . . .to start with this has nothing to do with the lyrics of "Boukyaku" but, we really thought we'd do concerts the same as usual without exception, but then that feeling sunk in bit by bit. Due to the number of infected persons, I think I was scared and I couldn't put my mind at ease but I mean, that's natural . . . . . of course given everything. So I think it's best because of all that, that we follow the rules as much as possible, and don't stop social distancing.

Well in part, that's why the album is so powerful you know.

Yes. So please listen to it at home.

You can go somewhere, just by staying home and listening.

That's really it, exactly.

         [1] Here as well as several places throughout the entire interview, Sakurai uses humble form. He is generally a very polite and well spoken person when he speaks but I thought it was interesting to note how much he uses humble form within this interview. I won't note each use, but it is used a lot and makes sense when you consider his words about not wishing to be presumptuous and seeking to elevate others.

[2] "Villain" is pronounced "Biran" in Japanese, but "biran" with the kanji used in the lyrics means "abscess" or "inflammation". It is a play on words. And if you consider Sakurai's lyrics within the song, and the idea he had, it is like saying the villain character is toxic to others.

[3] Literally, he says something like it was given to him and it was like "Ready, steady, go!" but . . .while that's something you can say in Japan, the expression doesn't work as well within the context in English. So I tried to think of a more current way of expressing this same sentiment in English.

[4] This word can also mean to use a false name. So it's not only about anon hate, but hate from those who hide their true identities behind their internet handles.

[5] The word used "ojouchan" isn't necessarily negative on its own, it is simply a term of familiarity. Like if a grandmother called you that it'd be akin to calling you "sweetheart". However, in the context of the song, the word is creepy and gross due to the tone it is said in and the fact that it is used by a man who is a stranger presumptuous and entitled enough to use it. In English we have something similar, like when men give women unsolicited attention and call them "honey", "sweet thing", "baby", "doll", "girly girl", etc. Even in French there is a distinct difference between being called, "ma belle" by someone you know and are comfortable with vs some older man on the street calling that out to you. It is both overly familiar from someone you don't know, and that touch condescending.

[6] Social Network Services.

[7] In kabuki theater, the roles of both men and women were played by women. Many of the plays centered around suggestive themes, and were enhanced by the fact the actors themselves were often sex workers. Eventually, the style evolved due to bans against young boy and women actors, and so the double gender role was undertaken by men instead. The sex work still continued though, and what's amusing is the actors were so desired, and their plays so enticing, full out fights would break out during performances with both men and women vying for favor from the performers.

[8] A beloved comedian within Japan, Shimura Ken regrettably passed away due to complications related to covid-19.

[nopperabounet]

In celebration of a lovely drummer, on his birthday~!

May he get his wish, and continue to astound us for years to come!

~♥ ♥ ♥ ♥ ♥ ♥ ♥ ♥ ~

音楽と人- PHY vol.15 February 2020 Personal Interview with Yagami Toll Text by Kanemitsu Hirofumi Translation by Lola

 The year has closed with "THE DAY IN QUESTION".  The final performance was a first at Yoyogi National Stadium, so how did you find that?

Shall I speak plainly? I haven't screwed up like that in a long time. Even I was surprised at myself. Like, "Woah! I'm so nervous!" *smiles*

Because it was your first time playing there?

Yeah. It being the first time, and I felt super pressured by the seat arrangement.

Those who are furthest back are rather far from the stage aren't they?

I could barely even see those in the back. I was worried about the acoustics too given the oblong shape of the hall. But you know Acchan's voice sounded great. I know because I had the ear monitor, right.  Usually I always have the sound balanced the same way but, this time I had them reduce the vocals for me. Once they did that I kept thinking, "Oh, wow~ what perfect pitch."

Regarding the choice of songs, what sort of image were you going for?

I picked "Aku no Hana" and "Jonathan Jet Coaster" this time. I wanted to do songs with this fast sort of tempo while I can *smiles*.

You mean as a drummer?

Yes. Because I wanted to check if I could, so I put them on the list, practiced them, and was like looks like I can still manage these I guess. But when I look at old footage of "Aku no Hana" the tempo was super fast you know, even though we never used clicks back then. [1]

Now clicks are always used no matter the song, right.

The only song I don't use it for is "Speed". I seem to recall Imai feeling uncomfortable with the fact that I play it so perfectly. Like with the concluding outro[2] of "Aku no Hana" too, if I match the clicks too well it ends up sounding off.  So at the very end, I just take my cue from listening to Imai instead. We've come to have each other's body language completely ingrained from the old days you know.

I see. It was a great live though.

It was. Even if I screwed up *smiles*.

And yet at the after party you were the one in the best mood *smiles*.

I don't really remember though. I think I drank until like 10 am the next morning *smiles*. Because I had all this adrenalin after the live, and once it was over I could get it all out, and just ended up acting like an idiot I'm sure. Because on top of it being the end of a live, it was also the end of the year right *smiles*.

What sort of year was 2019 for you?

We didn't do too many lives but, for one reason or another I was constantly practicing. There was also my solo, and recording after September, so it's not like I had much time to be idle. Which I'm glad for.

Because as a drummer it's bad if you don't continually stay in form right.

Yeah. I even talked about this in our autobiography, how in the old days, there was this period of inactivity due to being on house arrest because there were so many paparazzi we couldn't leave the house, and I went half a year without being able to play the drums which really made me become bad at it. Maybe if you're incredibly gifted then you'll be fine without practicing but, for a mediocre drummer like me it's not like that, I have to keep at it. So I begged for help. Now my drumming style has changed because I was taught by Kamiryō-kun (Kamiryō Wataru).

You weren't held back by your pride then, as a sempai humbling himself before his kouhai asking to be taught?[3]

Not at all. Because asking is one moment of embarrassment, but not asking would have meant a lifetime of shame. It's like how Bunta-kun from TOTALFAT can play 9 note tuplets, and even though he's like thirty years younger than me, I asked him to teach me how on the Vdrum[4]. I watched him so intently *smiles*. When I'm absorbed like that it's because I want to take it all in you know.

That's because you have a great drive to work hard isn't it.

I think we're all like that. Even space aliens like Imai *smiles*.

Ha ha ha ha. So what did you think about your new song "Datenshi" when you first heard it?

When I first heard the demo, I thought it sounded incredibly European you know. Because of the simple beat. But as I kept listening, I realized it was kinda off.

The bass is different than usual, like the beat placement is left out at times.

I thinks it's such an interesting approach isn't it? But if you don't have a flair for that sort of hollow feeling then it can turn out terribly. And yet it's something Imai ends up able to do all the time. Like with the demo of "Datenshi" I thought once again, "I knew it, this guy's no ordinary man." Like the song is hollow and yet it strikes with such impact.

That sort of beat is super fresh too isn't it.

It makes me happy as a drummer. I had a rough time with "Luna Park". Because it's dainty so I used my 1910 era snare. Made with real leather to boot.

Yours is vintage isn't it?

I used it in the past for "Tight Rope", and during one take I tore it. That's the thing when you use real leather, it can tear so easily. So when I used it this time I was nervous and careful with it *smiles*.

Did you think Imai-san was doing something new with "Datenshi"?

I mean, when I first got Imai's demo I didn't really get why it sounded European-ish right *smiles*. Then Acchan sings, and it's like oh I get it now, that's why it's like that, that's pretty good.

I see.

It's a good balance. We also recorded three songs, there's "Datenshi", and then another really nice medium tempo song, and then "Luna Park." Which is good because it's one of Hide's songs. Because even with age my kouhai are never stubborn or bumping heads either.  I'm guessing it was the same even when Hide and Imai were classmates. Even their personalities, they've never been egotistical.

You're right. I mean it's what makes them so well cut-out for being in a band making music together.

It's why no matter what kind of song they do, you can say it's BUCK-TICK, and that's because we've come to do things honestly, and without conceit. I don't think it'd work between us otherwise.

Why do you personally think that you are able to keep doing things without being conceited, Yagami-san?

Because they won't let me *smiles*. If I start bragging they smack me!

If you let your nose get too high they're liable to break it *smiles*.

There've been times when I felt I was on the brink too you know. But that was during a time when I was in a slump, and I was worried about how everyone else was feeling, that they had to put up with me, that they had to support me, and when you're feeling like that, there's no way you can brag about it you know. I was going through a terrible period, I had all these things going on in my private life, and it damaged me a lot, mentally speaking. Like I had no strength left, and I felt terrible emotionally, so I think I was having a rather hard time living with myself back then.

The band wasn't a positive thing for you during that time then.

It was not, no. I wasn't motivated, and I was even completely unsatisfied with how I was playing to the point where I thought the band would be better off without me. It's why I was scared of going on stage from my early to mid forties, for real. I was truly terrified.

You're talking about during "Mona Lisa OVERDRIVE"?

Yes. Those were harsh times you know. I told myself that now was a good time to quit. Yuuta and our manager would have none of that though *smiles*, so that's when I started going to the gym, my form changed, and I even changed the kind of sticks I use, I tried out a variety of things. Stuff that I could do in my twenties and thirties I couldn't do anymore the moment I hit forty. I thought it must be an unlucky year for me *smiles*.

But you were able to recover.

Yeah. Because even though I felt like I must be such a terrible person, the other members were there for me, and so bit by bit those wicked thoughts of mine went away. Maybe with age too right. I don't grumble about it anymore because I've already come so close to quitting once *smiles*.

Now that you mention it, it feels like you have gotten way more calm during your drum solos as well.

Yes. I think it shows if you can look back at old footage, like in the past I didn't play the cymbal with my bare hands you know. But because John Bonham (of Led Zeppelin) had done it I thought it might be tacky if I did it too. But since I liked it, I dared to do it. If I think about what's influenced me, there's been a lot of things you know, so I started to think it's actually better when I can showcase that. Because that's what I want to see if I'm a spectator, not all my weird hang ups. So yeah, that's how I came to have my current drumming style. It's hard to end something without ever showing that.

It appears to be the same for the rest of the band as well, the five of you are aware of the end approaching as you do things, and I feel like it's that bond between you that continues to make you stronger.

That's what happens when you become old men together *smiles*. Like my father died at 70 so when I think about that, and how I'll be turning 58 this year, it's like I've only got twelve years left after that. When I think about the time I have left like that, it makes each live, every time I'm recording, and each and every moment I have that much more precious so rather than sweat the small stuff, I wonder what would be better for me to do for the band, what should I be showing others, and what should I be doing to make others happy, because I've come realize that's the only way to be.

It's the same for Sakurai-san, although his way of grasping it was a little different, he spoke to me about aging as well.

I think it's the same for all of us, so like if even one of us can't do this anymore, then we can't continue.

Not to be too relieved, but I did think of Led Zeppelin.

It's because BUCK-TICK is not a business you know *smiles*. Like Zeppelin put out "Coda" as a farewell album because it was something they could do even with someone missing.

I see.

That's the thing about being in a rock band right, you've got people with differences in skill. To put it clearly, we're the ultimate amateurs. But it's this nuance that means that should even one of us be eclipsed then we can't put out more. Just look at how Imai plays guitar, like where in the world would you ever find anyone else like that?

You're right, there's no one else like him *smiles*.

So it is often said, right? Even though Imai-san as a guitarist has been prolific, do you know why I call him a genius? To me, it's because he's unique. It's because no one else can imitate him, and the individuality he possesses.

You're right, there's really no one else alive with that kind of quirkiness.

There's plenty of people in this world who can keep time properly and play with a metronome. But how many are like, what even is time? *smiles* That's BUCK-TICK's groove though. We talked about this in the beginning right?  How like with "Speed" and "Aku no Hana" there's this certain nuance that without Imai, without the kind of band member he is we wouldn't be able to create these things. I understand this now. It makes me so glad I didn't leave *smiles*.

Please, for my sake, tell that to the many bandsmen who are worrying *smiles*.

It is absolutely prohibited to leave this band! *smiles* And to think it's all because originally it was a punk band that got all these amazing guys together. So if we keep on going, it is because of who we are as individuals!

That's the power of persuasion *smiles*.

But I think that applies to anything, not just being in a band. It'd suck otherwise as a way of thinking.

Speaking of theories, now you guys offer a subscription service on YouTube so that people can listen to you on there, and you have snippets of song intros, but without the guitar solos, I wonder if it'll work in gaining popularity.

Even if that's true, maybe it will work to gain popularity so, wouldn't it be interesting to at least try it out?

Right.

I guess it's like they say, where there's a will there's a way so no matter what you do in life there's a mix of motivation and inferiority complex, and I think it's all about who you work with. That's how it is for us anyway. The five of us wanted to do this together but during our debut days we were utterly disparaged. And even though I thought things might be pointless, the other members were there for me you know. It's thanks to them that I'm able to be humble as well, and why I haven't become conceited.

Right. When I heard the tribute album, I felt that played a part in it because with other types of bands that sort of thing doesn't show.

Honestly, I just wanted them all to crush it. At first, I was just grateful for their participation but, when it comes to what I wanted, it was for them to crush it because I wanted to make them not worry about how much they respected us you know. So that's what I advised them. Otherwise it's like old karaoke right, there's no drive in it you know. Because it would be like a studio musician playing the drums. When I hear a song with that kind of nuance, it sounds like a complete rip-off to me *smiles*.

That is in part due to your being humble. And it makes the difference in why you will not be denied.

But it's also because of how we do things too, like isn't it also because we've come to study and learn? I thought it's because BUCK-TICK's way of making music has changed in style, because of course if we couldn't be transformative then it'd be bad right. At least that's what I think as the drummer.

As for you Yagami-san, what sorts of things would you like to do with BUCK-TICK from here, and where would you like to go with them do you think?

I'd like to be a feisty old grandpa.

A feisty old grandpa *smiles*.

And to be admired by the youngins *smiles*. I want them to see me and be like, damn he's old but he's incredible!

In order for that to happen you need to put your health first.

Yeah, no, lately I haven't being going for check-ups *smiles*.

Go, please!

But I haven't even had symptoms of anything! *smiles* Well, 'cept my drinking till 10am.

And that is hardly a problem.

Gotcha *smiles*.

     [1]To use a click in music is to use a digital metronome to help musicians keep time with the tempo.

[2] The concluding section of a piece of music.

[3] Sempai and kouhai are terms that mean upper classman and lower classman respectively. A little bit like senior and junior in English, but the nuance is not quite the same. The dynamic between older and younger students varies greatly in high schools across the globe, but in Japan it is a relationship of respect and a sort of admiration in the way a kouhai would normally look up to their sempai. It's virtually unthinkable for a sempai to ask a kouhai for advice, which makes Toll's request a profoundly significant one in Japanese culture.

[4] Used for electronic percussion.

[nopperabounet]

Fish Tank 95 Interview with Higuchi Yutaka Reporter: Okubo Yuka Translation: Lola

 What did you do for New Year's?

We released a single and a tribute album right? And I went to the BUCK-TICK cafe.

Did you? I'm guessing you went after hours?

Nah, during work hours. I was there the day before my birthday to sign things for my 'Ongaku to Hito' column.

And did you get to eat a serious bear themed birthday cake?

I wasn't going to, but then they brought out a birthday platter they made just for me. I'm grateful.

So let's get into "THE DAY IN QUESTION 2019",  if you try to look back it again, what sort of tour did it turn out to be?

I think it went well. Makuhari went well too but, with no tour planned that year, and a whole year with only two shows, I mean that's not very much right, so it felt like an unusual year for me. But that's also the very reason why we wanted to do something different from Makuhari in terms of atmosphere, and I thought we had to make it good you know. And then we got to play at Yoyogi Stadium for the first time so that was fun.

Seems you also got to start off your tour at the Takasaki Arts Theater.

The old music centre has been around since we were kids so it's a historical building you know, but it's grown so much since then, it's incredible *smiles*. It was super beautiful. I think our live at Takasaki went well too.

How did you find the set list and the staging?

I wanted everything to be strong and tight, and I think that came across, or to say it better, we have a lot of songs from different eras right, and I wanted them to be able to flow from one to another seamlessly.

I see. You also varied your set list depending on the venue didn't you?

That's right. We talked about how we wanted to put all our efforts into making every show good even if they happen to be in the same venue.  Like we did two days in Osaka right, and when we talked about how it'd be better to change things up at bit from show to show there, we said well if we're going to do it in Osaka, we should do it for all of them. So that's why we were able to change things up. But of course because it was such short notice, there were some things our lighting director couldn't do. Also, we had a ton of potential songs we could do so we figured why not try to do them all, and in this way each show ends up being a little different, which was good I think.

And it was you, Yuuta-san, that decided on "Muma - The Nightmare" to start with as an image?

That's the thing about having a series of songs, the first one has to have impact. And since we hadn't started a show with it until now, I thought it'd be good. And since were able to keep up the same atmosphere with the flow of the songs, and it all went smoothly, I think it was a great set list.

You also changed the arrangement of "SILENT NIGHT" to make it more grand.

The original has that vocals and guitar only feeling but then Imai-kun changed up the arrangement a bit for me, so it comes off differently than the acoustic version, which sounded good I think. We did "Snow white" too as a winter song, and since these two songs were important to give weight to the center of the set list, these were the two that I thought it best not to change, no matter the venue.

Those two winter themed songs were one of the highlights of the show. Also, how did you find performing "Datenshi" in Takasaki actually, since it was the very first time?

I was nervous for sure. I mean it's always that way the first time you perform something, and the thing is we'd recorded it to be put out as a single in January right *smiles*. I mean for us it was like, "Oh, so that's how it sounds" but that's in great part due to the immense amount of thought put into it by our staff. That's why we did it without making even one mistake *smiles*. I mean it's kinda harsh right to be recording something at the end of December for a release in January. But that was already decided on by the record company so I'm just really grateful to everyone in the staff for making it happen.

So that was in part why you were nervous wasn't it? But how did you feel once you were on stage in Yoyogi Stadium, and looking out at the venue?

I was happy to be able to perform in a place that we hadn't yet in all our thirty years. I saw it for the first time when I was a kid visiting Harajuku. And yet I'd never performed there, so I thought it would be good to do it. I think I'd like to play there again, even if it's not for a "THE DAY IN~".  Because it's a place I looked forward to playing in for such a long time, I hope I get the chance to do so again.

I had also heard that Yoyogi Stadium underwent repairs before re-opening due to having poor acoustics. So I was a little worried about how it would sound the day of the concert, but I needn't have worried at all.

The truth is our PA person doesn't only do work for BUCK-TICK. We were about 18 (years old) the first time we met, and they were working on a Taikan Freaks live, and aside from doing work for BUCK-TICK, this person has worked on speaker systems all over the country. So they've gathered data from venues all over the country right.  So they just know what kind of sound you can have in each place. So whenever we get a lot of praise for how amazing our sound is live, I want to say, "I'm sorry, it's not us! We've just got an amazing PA!" *smiles*

That's the strength of being a part of a team.

Because we didn't have many lives this time, our staff really went out of their way to do their best, and I think that's what made the lives so wonderful. They even added more snow *smiles*.

Was it really that much more?

Well, in Yoyogi there was a ton more. In truth, we wanted it to be like that in every place but it depends on the venue, and some places just don't allow for that sort of thing right. This time most of the places we went to had a theater quality to them which made for a good atmosphere though.

It was your idea to have "LOVE ME" as the last song too, wasn't it?

I may have said this before but, even though it was said that, "But we've done it before" it has been a number of years since we ended with it.  Which to me meant that it'd be even more surprising if we closed with it. I also thought that by closing with this song you're left with a good feeling about BUCK-TICK. And also by starting with "Muma~" and ending with "LOVE ME" you're getting our full range as a band.

When it was over, there were excited cheers for the announcements that were made but, did you get to hear them?

Yeah, because I peeked.

You were peeking?! From where?

I was just on the verge of being seen.

Oh, really? *smiles* I thought it looked like 2020 would be a busy year for you.

Part of that is not wanting to lose momentum. Because we didn't put out an album in 2019 right, so of course this year, 2020 being a new year, we want to be able to give everyone the chance to see BUCK-TICK more locally. I'm looking forward to it.

You've only begun recording the album yesterday, but I hear you've finished your first day of bass recording.

Yup. Just for two songs though *smiles*.

What sort of feeling do Hoshino-san's two songs have?

I feel like the difference between Imai-kun and Hide's songs has doubled, they're great songs. Hide really outdid himself this year. Please look forward to his songs *smiles*.

OK *smiles*.  Have you already heard Imai-san's songs then?

Not yet. But I'm sure he'll dump a mountain of songs on me soon enough, and I'll do my best with them.

Has he not told you either about what the album's theme will be?

Nope, nothing.

There was an uproar on Instagram wondering about it because Imai-san posted that the theme was seven characters.

He didn't tell me anything, I swear! But you know, it does make me happy that Imai-kun can always get people so excited like that. I've also been focused on recording because I want to think carefully about what I'm doing right, and I'm thinking about how things will progress from here, but you know all of that is what makes it enjoyable. At the same time, I was also supposed to do Harata Kenta-kun's birthday live on March 3rd, and I was going to do an ARB cover so I've got to keep that in mind, and so I guess I've just been pretty preoccupied recently.

Because the March 3rd performance was postponed, and that was your chance to show your ARB cover.

It's already been about twenty years since this happened but, I got to do an ARB song with Kenta-kun at an anarchy event you know. Obviously it was an anarchist song. And that's when we bonded over our love of ARB. So when Kenta-kun talked to me about doing this event, of course I thought this was my chance to show how great an influence they had on me, and how much respect I have for them. I wanted to show my appreciation, you know.

While we await news on that front, there's the fanclub only live tour starting in May. Would you kindly offer a message to everyone looking forward to it.[1]

I want to have fun lives. I want to carry that feeling through 2020. And what better way to do that than to start off the year with those who have been so kindly cheering us on all this time. I hope we make it a great success!

    [1] The fanclub only lives were postponed, however they have tentatively been rescheduled for the period of February - April 2021. Please consult the official BUCK-TICK site for further information.

[nopperabounet]

音楽と人- PHY vol.15 February 2020 Personal Interview with Higuchi Yutaka Text by Ishii Eriko Translation by Lola

  I'm going to start by looking back at last year, and the "Locus Solus no Kedamonotachi" shows that happened in the first half.

OK. I mean the whole departure point for that was that "Locus Solus" isn't an album tour, nor is it like our "THE DAY IN QUESTION" shows, so we needed a different title for it, and had various things in mind. We also announced the release of a new song too, and I thought it'd work well for the live.

You tried some things out for the first time as well. Like during the encores when you unexpectedly came in from the back like pro-wrestlers to the raised center stage.

Like pro-wrestlers *laughs*. That's because the walkway was rather long you know. It was fun to be in the centre of everything like that with everyone. We were all squished together there, and typically we're not even that close to each other when we rehearse *smiles*. It's been some decades at least since we've performed that closely, so for me, it felt nice.

Like being cramped in a studio from your early days right? Did it remind you of back then?

Yeah, it reminded me of being in Kōenji . . . . . . you know I'm not even sure if PAL (studio) is still there even. But anyway being able to do that made me feel like from now on we'll be able to keep doing new things, and that's a good feeling.

But I would think it'd be stressful sometimes, to be only concerned with doing new things, and first time things.

Nah, I want to do more of what we can do. There's still a bunch of stuff we can do, the five of us,  and even I feel like we can still make our lives even better. So that's why I want to keep doing more and more.

I can tell you mean it by how confidently you say it.  It's great!

I just never want to stop doing this, even more so now than when I debuted and had only been playing the bass for about a year or two. I kept at it though, and reached the point where I felt like I knew how to play, but it's not just about me. Now when it's the five of us making music together, it feels so clear to me how good we've become. That's why I want to keep doing more, and become even better. So yeah . . . . . .but I'm sure that's kind of a weird thing to say right *smiles*.

No, it's a good thing. Sometimes when people have been together for so long, they can't see the potential in growth anymore right? So instead of building stamina they end up feeling limited.

Well, I just feel like there's still a lot of stuff we can do you know. In regards to what we can express, and what we can put out, the five of us. I feel like there's still more we can share with those who've been waiting for us, and that makes me super excited.

You keep emphasizing, "the five of us".

Yes. Well I mean, BUCK-TICK is five people *smiles*. And of course we have lots of help from our staff too but, it's always been the five of us experiencing this together you know. Laughing together . . . . . .well, maybe not crying together so much but, we've had a lot of fun times together. Like during tours and rehearsals, from the very first time the five of us tuned our music together until now, it's always been this way. Not to say that we're grinning all the time but, there's a feeling of comfort between us.

You were a high school student when you first entered a studio, so was that a big moment for you?

Yeah. Like we wondered what would we do together, and what sort of sound we'd have. Is it weird if I say just that made me happy? It was super fun though. I'm just not great at expressing myself.

It's incredible that you didn't get stuck in a rut. Like when married couples have been together that long, they don't want to be together anymore.

I think it's because Imai-kun is always providing us with a variety of things as a composer. So because of that I'm always having to learn new things. That's probably why I can't even imagine feeling stuck in a rut with them.

Regarding "Datenshi", what were your first thoughts when you got it?

I thought it was a rock song. But because in the demo, it's Imai-kun singing at first, that's what really made it rock for me. But I knew that once Acchan sings it would sound incredible.

I heard that you had a different single in mind at first.

Yes. But it was this kind of tender-ish song, so when we were wondering which would be better to put out first, we ended up choosing "Datenshi". Well Hide had written some songs too, but we went with the one Imai-kun wrote with Acchan's lyrics. Of course as composers and the lyricist, they'll talk about it like, "Ok, what do you want to do now?" That's what we stick to usually.

Speaking of Imai-san, how do you see him as a composer?

. . . . . .he's a vague one.

A vague one *laughs*.

Because he'll just say stuff like, "I want it to have this kind of feeling" every time so within that, if I change stuff up to suit me he'll say, "Good, yes. That's good." He's never really been forceful with me about what he wants with the demo you know. I think that's why we're all able to keep growing together, and becoming more aware. So that's what I mean by vague.

I see, so it's not that he changes things based on everyone's input, but rather that the demo is just a start of something, and you all add a lot of changes to it for the final product.

Right. It changes the basic impression of it. Of course, I tend to record my bass parts first right so I end up wondering, "I wonder how this song will turn out?" Like with "Luna Park", my impression changed completely. At first when I heard the demo, it struck me as like a British type song. But then once everything was in it, the image changed to be something incredibly light.

Ah, so you're saying it didn't have that electro-pop-ness to it at first.

Not at first, no. I think Hide had a master manipulator add that, and that's what really made it super pop to me.

Does that happen often?

Yeah. And then there's Imai-kun who is always changing things along the way right. Like even when he gives you a demo, it'll end up changing so much because of all the stuff that gets put in afterwards. And maybe this is a weird thing to say but, I feel like the moment Acchan sings, he puts the soul into the music. That's when I feel like, " . . . . . .oh, wow!"

This might be an odd question but, do you ever feel like, "Wow, how did I end up in such an awesome band"?

Yeah! Well no . . . . . . it's not that I go around thinking how awesome they are, but more that I have respect for them.

The very fact that Imai-san and Sakurai-san paired up to form a band seems so unlikely to me, I feel like it's rather miraculous honestly.

I guess so. But you know I've been with them since high school when I was their junior classman *smiles*. That's not something I really think about. We haven't changed at all since then. Like when we were in high school, and Imai-kun would be like, "You've got to hear this sound, do you have this kind of record?" Back in our indies days he'd get me to listen to all this stuff that could only be bought in Tokyo. He's still like that even now. He's always telling me stuff like, "This is good, you gotta hear it."

You still enjoy that he does that.

I do. It's like, "Wow, you're right! This is awesome!" So you see, we haven't really changed much.

But you couldn't have imagined Imai-san from your high school days where he is now.

He wasn't really the chatty type you know. I don't think any of us really are. Hide was never the loud type either, and Acchan was even more quiet.

Once the five of you formed the band, did it feel like instant chemistry?

It did. It all clicked. Well, once we were in Tokyo. The feeling of the band changed once Acchan became the vocalist. But it's from that point on that we've always been able to do thing with this same feeling, and I think that's why it's fun.

Maybe, but it could be also because all of you feel that you are getting better and better with time.

Yes. Maybe. It's not something I can really put into words. But I think it might be something that even those who have been watching us for a long time feel. We've absolutely gotten better as a band, and we want to keep getting even better. Because we have so many people supporting us, and who come to see us live. So I think that makes us all the more driven to want to entertain them even more.

I feel like in recent years you've been fixated on that, and on that sort of circus imagery.

Well I mean it is a show right, of course we want to make people enjoy themselves. Since without that they might not be into it. While we have a variety of songs, and our approach varies too, as a performer what makes me happy to hear in the end is people saying, "I had fun" or "That made me think". I just can't express it well in words.

But it's not just about making people laugh with amusement, it's also because you all honestly believe this world is worth enjoying ultimately.

Right. Of course when I say we want to make people have fun, that is absolutely a part of it for the five of us too.

And of the five of you during lives it is you, Yuuta-san, who grins the most.

I do, yeah. I think when I'm happy with what we're doing, I can smile easily. I think we each express ourselves in our own ways you know. Although of course when it's a surreal type song I can't be grinning away like a fool *smiles*. So that's kinda annoying but I make an effort to interpret these things in my way and still do it properly.

You cover a wide genre of music, and you're also working on the serialization of your stories about your support of the Hanshin Tigers, and while it's uncharacteristic of BUCK-TICK, I think it's proactive of you, Yuuta-san.

No, no, I wasn't being proactive, I was made to do it *smiles*. Your editor in chief, Kanemitsu-san made me. But then I figured ok, I guess this is BUCK-TICK related too, more or less.

More or less *smiles*. But you know the thing about BUCK-TICK is that they're consistently aloof, even your followers don't really know you that well. So for that reason alone, you doing this Yuuta-san is like a glimpse into your life.

Aah. Now you're making me sound like a liability.

You're smiling so I'm thinking you're ok with it. Even though you all act like you're in hell, it's not true to who you are.

Ah, yeah. That's because of the time of our debut though. We'd get told like, *said while glaring* "Don't smile, and never look like this is fun!" But gradually with time we've come to express ourselves in our own styles anyway.

From when do you think things changed?

From a little before the 2000s I guess. I felt like I was changing bit by bit. Maybe it was around the time of "ONE LIFE~", during our Ariola years? I don't think it  was due to a particular thing happening but, I came to feel like that was when we were able to do  what we wanted. I'd say I came to enjoy it all more.

Would you say you became more at ease?

Maybe. I mean rather than say I was at ease, I'd say it's that even when we weren't working I felt able to express myself. I mean it's not like we made a ton of stuff then.

True. When I think about how it was in the old days, there's this image like you weren't allowed to eat or even go to the bathroom.

. . . . . .if I don't eat I'll die *smiles*.

Even so, I couldn't even imagine living like that.

Ah, but you know for us it was just the way it was. Well if you compare us to how we were then, we've still got the hair guy *gestures to having spiked hair*, and the guy who never says a word *smiles*. But I think that's how a lot of us were too, we were all shy and quiet.

How did you manage to perform on stage being a bunch of shy and quiet guys?

Mm, this might just be for me but, it's like a switch goes off. Not that I'd ever be back stage screaming like "LET'S DO THIS!" "YEAH!"

Hahaha. If you did I'd be worried.

I am dripping with sweat though. But then the moment we get on stage, it's like there's that switch for everyone. I think it's like that for the five of us. It's always been like that.

So it's been this way for over thirty years. That's an overwhelming success story.

Yeah, but you know for us even thirty years just feels like a check point, like if we're always able to keep doing this, then I'll welcome the chance to without question. That's why I want to do more, after all it was our 30th anniversary so of course I thought about what we'll do next after that. I think that's standard isn't it? Like you wonder when you've done so much where did the years go, and you wonder if maybe there won't be a next time.

The feeling of loss that comes with every anniversary *smiles*.

Right. Seems that even if I try to avoid feeling it, it's there. That's why it's good to be focused on the moment like last year with "Locus Solus" and "DAY IN QUESTION". That's the feeling I want to carry into the new year.

Be that as it may . . . . . . you still only put out one single in 2019.

It's true. You're right. I think that's why at first I really wanted to put out a wonderful album in 2020, and do a whole country tour to go see all the people waiting for us you know. Since we didn't really have that many shows last year. And I know for me, when a band comes to my town it makes me happy.

What does your work situation feel like currently?

Our manager begged us to please start thinking of songs . . . . . .that can be used for the album.

Hahahaha.

Because you know Imai-kun says something like, "I've got some in mind." And then always gets asked, "Yes, ok, but where are they?" Like does he have them on his Mac or what? No? Not even there yet?  . . . . . .I dunno, I don't get it *smiles*.

I humbly look forward to your summer album. Also I'm guessing this is something you've been asked a lot in recent years but, are you thinking about how long you will be able to keep doing this for?

Yeah, I dunno.  . . . . . .but when I was asked that some ten years ago I said, "Forever!" but now with the weight of the years, of course I've come to think about a variety of factors.  I want to say forever, but of course when I die, that's it right. So I'll say I want to keep going for as long as I can.

Does thinking about the end scare you?

Well yeah, I mean that's like asking me, "Are you afraid of death?" But that's why I think I'd be more afraid of things becoming sour with the band, because as I was just saying, it seems like we we've still got stuff to do. I think that's why I'm able to think that I want to keep going for as long as I can.

Is there an ideal way for the band to end?

An ideal way? . . . . . .I guess . . . . . .if it ended without us breaking up?

You think . . . . . .you'd break up at this point?!

I'm considering saying, " . . . . . .yes?" *smiles*

Well then I'm going to say, "What the hell are you saying?"

Which seems to be why I always end up thinking, "Ah yes, if only I'd keep my mouth shut, now what're they going to print?" *smiles*

[nopperabounet]

Fish Tank 95 Interview with Hoshino Hidehiko Reporter: Okubo Yuka Translation: Lola

 What did you do for New Year's?

I relaxed so that now I can I work on recording the songs I wrote.

Really? So you didn't get sick or anything?

Not this year. So far I'm in good health *smiles*.

I'm glad to hear it. I'd like to take a look back at "THE DAY IN QUESTION 2019" .

As you know, the first day was at a new venue in Takasaki. I'd say it's been a long time since we played in such a beautiful venue like that one in Takasaki. It felt fresh since it's a music center.

I heard that creating the general framework for the set list was up to you this time, Hoshino-san, so how did you find working on it?

I decided the general idea, yes, but ultimately things get changed around as we rehearse and fiddle with it. I was thinking about what would create a good atmosphere for the show.

It felt a little different than your usual "THE DAY IN~" because it had such a powerful opening.

Probably because we opened with "Muma - The Nightmare" . . . . . .because both Yuuta and I said it would be good to start with it *smiles*, and I think due to that it creates that profound heaviness that flows through the rest. Which is good to do from time to time, I think.

I was also impressed by the two winter themed songs, "Snow white" and "SILENT NIGHT".

Of course that was the point of including these two songs in the performance. I mean they weren't the main part of the show this time but, I felt like it was incredibly important to have that sort of segment.

You played "SILENT NIGHT" with a new arrangement, so how did you end up getting Yokoyama-san to do it?

Up till now, "SILENT NIGHT" has felt somber and lonely to me so I planned on asking Yoko-chan to do something about that. . . . . .why? Did he say something yesterday about it?

So you're saying you're the one who wanted Yokoyama-san do to something with the sound, and that it was your suggestion all along, Hoshino-san?

Yes, exactly. Why? What did he say?

Imai-san said that he told Yokoyama-san, "I know Hide asked you to do something for him, but I don't really think this is what he meant."

Right, yes, ok. I knew he'd say that *smiles*. That's basically it *smiles*. But well, it's ok you know. We worked it out amicably in the end.

What feeling were you trying to go for Hoshino-san?

I just wanted something with more guitar *smiles*.

It was your first time performing "Datenshi" live, so how did you find the audience's reaction?

It went well, didn't it? As for their reaction . . . . .I'm not sure you know, I couldn't really see too well. Because I was trying to play it well *smiles*. Since it was the first time for me right, so I was worried about doing it properly.

You changed each set list up a little bit, and I understand that you did this while you were rehearsing?

Right. We change things up as we do them. Especially on the second day, we fiddle with the encores to get them to suit the mood of the day.

It was also your first time performing in Yoyogi Stadium so did that end up changing things for you because of nervousness?

Maybe. I mean Anii's always saying stuff like that after the show. "I screwed up!" *smiles* But for me that's just part of doing lives you know. We're also used to the feeling of Budoukan and its basin like shape, which lets us see people even if they're on the sides and it feels incredible you know, whereas in Yoyogi the seats stretch out far and flat so in the end, what you feel is the distance so I felt like it would have been more enjoyable to share a closer space together.

Any incidents happen during the tour?

Not this time, so I'd say it all felt good overall. I don't really remember any particular highs and lows, at least nothing more than usual I guess. Maybe it was because of the mood we created with the song choice . . . . . .that somehow nothing really bad happened. I guess I should make the set list next time too*smiles*.

Since it's best when there are no incidents *smiles*. At the end of the show you announced your upcoming activities, it was a nice way to close 2019.

I'm glad we were able to get people excited.  Now I have to do my best to make good on that.

You began recording the album yesterday beginning with your music, Hoshino-san.

Right. But we're only on day two.

Regarding the album, I wonder have you spoken at all about the concept with Imai-san?

Well I mean, I guess he talked to me about how we'll have a theme this time again. Why? What did he say?

He posted on his instagram about how the new theme is seven characters, but he wouldn't say what it was.

Sounds like him.

While working on 'Datenshi', he mentioned  that the key words were "deviating from the norm", so I was wondering if maybe he was doing something different yet again?

Well, I guess that's sort of it? But you know "deviating from the norm" is not seven characters. I dunno, I'm not sure what he meant. Since he hasn't told any of us either *smiles*. Ah well, guess we'll have to wait and see.

Were you consciously thinking about "deviating from the norm" as well with your pieces, Hoshino-san?

If anything I'd say one of the songs might seem like it's "deviating from the norm" but I didn't make it that way, it's CUBE-kun (CUBE JUICE) who is doing that because I had requested it of him. We're in the midst of making it more intriguing. I also have a nice medium melody too, so look forward to that.

OK *smiles*. Will CUBE-san help in arranging both of your songs, Hoshino-san?

I have CUBE-kun, and I already have YOW-ROW-kun helping me for another song.

How did that come about?

By chatting with Tanaka-san (their director). I had asked if he knew anyone who could draw something even more interesting from the songs I wrote.

Yesterday, Yuuta-san recorded his bass parts, so does that mean you're recording your guitar parts today?

Yes. I'll record my parts today, and then take a little break. Because we still haven't put in the lyrics yet, but I think it's shaping out to be quite good. I just can't tell for sure because I don't have the full picture yet. But I do have a hunch I know which direction it will go in.

Imai-san plays the guitar in your songs as well, doesn't he?

Yeah, I mean that's the plan but . . . . . .but I bet he said something like, "It might be better if I don't play in his songs" right? *smiles*

He didn't say that, but he did say something like, "I bet Hide's just gonna play all the guitar parts anyway".

Why would he say that? *smiles* I mean, I did think that but still. Well whatever, it will be fine because our  recording schedule has all been decided on *smiles*.

Has this sort of thing happened before?

It has, yes. Things are fine right now when it comes to recording, but in the past there would be times when he'd tell me he was too busy composing to come into the studio so I'd just be like, "Well, guess I'll do it all then." I think that was during our Ariola years.

Do you enjoy working on the creative process of the music?

It feels like the complete opposite of doing lives. But yes, I do enjoy it, and find it fun.

Since you've only really just begun recording, I'm guessing you don't really have any stories to tell about it yet. However, I did happen to hear something about liver and Chinese chives.

That was quick, I ate that yesterday *smiles*.  We don't do take out here too often you know. But yesterday we thought let's order curry, so I decided to get everyone's orders, and like an hour later I go to make the call and get told, "it's too much, we can't handle such a big order." I hadn't thought it was that big of an order *smiles*.  By then I'm absolutely starving~ and end up changing our order to Chinese food. So that's what happened *smiles*.

Thank you for sharing such a precious story *smiles*. Beginning in May you will have fanclub only lives. I'm guessing you'll be doing new content by then, like playing "Luna Park"?

Ah, yeah, I guess we will be. But you know right now a lot of events had to be suspended so I'm not sure how things will be by then. I'm worried it might have to be postponed as well[1].

I know. I'm praying the situation will be safe enough to do it so would you please give a message to everyone who is looking forward to it?

I pray that we will be able to have our fanclub and mobile member tour in safety, and in the meantime I will be spending my days recording. Please look forward to it.

  [1] The fanclub only lives were indeed postponed, however they have tentatively been rescheduled for the period of February - April 2021. Please consult the official BUCK-TICK site for further information.

[nopperabounet]

音楽と人- PHY vol.15 February 2020 Personal Interview with Hoshino Hidehiko Text by Kanemitsu Hirofumi Translation by Lola

  Before you perform live in Yoyogi Stadium for the first time (this interview was conducted on December 26th), I'd like you to tell me about how "THE DAY IN QUESTION" tour has been going.

Doing these lives at the end of the year is something we've been doing  fairly constantly for twenty years so I think it's sort of just what we do each year by now.

Rather than only play old songs, I had the impression you mostly played songs from the middle of your career, and a lot were from your time with BMG Fan House.

That wasn't our intention but it certainly looks that way. It just turned out that way with the songs we chose, and with the order we arranged them in. Like . . . . . . I'm sure Yuuta was the one who said to start the show with "Muma - The Nightmare" because we hadn't done that before so we thought it'd be a compelling start, so then based on that we made our other song choices for the set list with what we figured would fit.

Which songs did you request be on the set list, Hoshino-san?

I didn't especially request any *smiles*. However, I think I did say we should do "Dokudanjou Beauty - R.I.P. -" as it wasn't on the set list yet. I also said I wanted to play "Snow white" but Yuuta had that on the list as well. It's not like I wanted it especially or anything though *smiles*.

Even though it's your own song *smiles*. What kind of year did you find 2019 to be?

Because it wasn't filled with lives, it felt like the flow of the year was completely different than usual. Looking back on performances within the first half of the year, we did "Locus Solus no Kedamonotachi" at Makuhari, and it's from that point that I think things changed, like ok come on, we gotta do more. But you know I think it's been many years that we've wanted things to go like that, but it just had to fit our schedules.

If it were up to me to describe it, I'd say this was a year that you all looked towards creating with renewed vigor.

I see what you're saying, but that's not it for me *smiles*. Like when we were putting together the presentation for our most recent single, I just happened to have a couple songs sitting around on my computer *smiles*. Once "Datenshi" was decided on as the single, I looked for a song that could be paired with it, and it was just like oh, this will work.

So what, you were just like oh well, guess this will do?

Well, no *smiles*. I just had bits of it done already like the riff and stuff.

Regarding "Datenshi", what sort of impression does it give you?

It feels kind of new wave-y to me. It's not super energetic rock, but it's not really that light either. That's why it sounds like new wave to me. It's not stiff, it has more of that sort of relaxed nuance to it which makes it great I think.

Imai-san's been using words like "veering from the norm". Even with this song, if you think of how the bass would be typically in a song like this, he didn't do that.

Yeah.

In other words, I think he's interested in pursuing the unexpected, but is that something you guys talked about before recording?

He hadn't really said anything about it when we were listening to the demo but, when we were sitting around drinking afterwards, I think he might have mentioned something along those lines? Something about how . . . . . both the songs and the perspectives expressed in "No.0" were too stiff because he hadn't done everything that he had wanted on it, so for the next album he wants to loosen the restrictions, have it give that feeling of putting people at ease. At least I think that's what he said. I don't really remember now *smiles*.

I wonder what's made you so fuzzy all of a sudden? *smiles*

We were drinking *smiles*. So anyway, typically that kind of riff would come off hardcore but, he wanted to stray from that a bit.

What do you mean by that?

For instance if you're talking about the key of a song, typically if it's middling pitch, you'd make the guitar higher than that, but this time he deliberately gave it a sharper sound. Going into the next album, I think there's going to be more of this kind of approach to the sound. Imai-san's always playing around with sound and finding new ways to turn it on its head, it's what he buys all those weird effectors for *smiles*.

But don't you think that without this, there would be no room for change within the band?

Right. So when we're all aware of that as individuals, then we can move forward to once again create something new, and I think that comes across in the album a lot. This is just the direction we ended up going in somehow. It feels like we're all in sync when it comes to this.

But like with "Luna Park" as an example I'd say it doesn't break away at all from your style.

Yeah but I mean that's because it was never meant to go on the album from the start. Its purpose was to be paired with another song in the end. It just happened to fit well with "Datenshi".

Ah, so it was deliberately made with the intention of being a song that balances the single.

Yeah. I guess you could say that when I was working on "Luna Park", for me personally it had this feeling of liberation you know? Even though I had worked on it a little earlier, I think I wanted it to have that break through feeling.

I see.

It's just because before this one ended up being used, there was another song we were considering for the single, but my song had a too medium tempo to go with it. I thought it wouldn't work if it was paired with the single so I had briefly set it aside as an option, but after laying about on my computer "Luna Park" was released.

Oh, so you were the one who thought it wouldn't work?

I kind of think it went without saying you know *smiles*.

Because you're the one who brings the balance *smiles*.

But isn't it more that I just want to make good things with the band? I certainly intend on creating a greater variety of songs for the album.

Of course in regards to what you put out with BUCK-TICK, there must be things that end up being rejected as not being right for the album that you might not have thought would be initially. But the whole basis is to at least try things out and see, right?

Right. But I don't think that's really . . . . . .what's happening now. It's more like if we've done something, then we'll take that and make it good you know? We have a pretty positive way of thinking. It's because of that positivity that our sense of moral responsibility has broadened, and that our songs will be even better because we're not just focused on our own experiences. We will not deny the experiences of others. And I think it will be interesting to pursue this with the band.

So that's why if you think it doesn't fit, it's you who decides to withdraw a song.

Yes, exactly. Plus recently we've had all these people helping us out in terms of manipulating the music like Cube-kun (Cube Juice), Yoko-chan (Yokoyama Kazutoshi), and YOW-ROW-kun (GARI). Each of them brings their own special touch to the music and that in turn makes it different, and it's these very changes that make the songs enjoyable in part as well. We've had a lot of great chemistry with them recently as well.

In other words,  you've shifted your focus with the foundation of the music to a certain extent by having others help with the arrangements a little. You've returned to having heart be at the centre, but would you say that that's because you want to create inspiring songs?

Yes. I mean it's a recent thing but it's something I'm really looking forward to doing.

So these two songs were both influenced by Cube Juice then?

Yeah, I mean it just happens that way sometimes.  Like, hm, I think Cube-kun could really give me what I want from this song.

I see. This issue will come out in 2020 but it feels like you guys already know which direction you'll be going in.

Well, there's also a huge possibility of us doing a complete 180 *smiles*.

Ha ha ha ha ha. But that's because you have so many things coming up this year isn't it?

Yeah. We'll be working on an album, then we plan on going on tour too. You know I thought it'd be nice if we announced our plans in Yoyogi. (They announced that they would release an album in summer, and then do a national tour in autumn.)

It would. You've also got a third tribute album, and personally I was very impressed by all the different artists that came together for it.

Right? I think it's our most varied up till now. Because we had more women on it so it changes the impression of the songs, more so than in the past. It also has a wide range of genres on it.

Was there any that really impressed you?

Ringo-san's "Uta" is incredible. Her approach isn't like anything we'd do right, what with the singing in English and her arrangement of it so it really astonished me. And I was happy with Fuji Maki-san's song.

Imai-san mentioned that too (in an interview for Ongaku to Hito's February issue), that this tribute album had two Fuji Makis on it *smiles*.

Ah *smiles*. True. Of course Fuji Maki-kun's song was good too, but I was referring to the Maki-san that made "Konayuki" *smiles*.Once in awhile we meet up to watch soccer, and we ended up talking about that, and I was saying how singing to your own accompaniment is what gives that song its power, and that you can't be self-conscious when you do that sort of thing.

That's some insight from BUCK-TICK's acoustic master *smiles*.

I thought he did an amazing job.  All the other artists did too, because everyone was kind enough to make the songs their own, and show us their distinct styles and voices, and to me that's what makes the album so good. By listening to their versions of the songs, I can once again see the goodness in them.

That's true. You've also already begun recording your new album.

It's early for us. Because we'll be having the Olympics in 2020.

Will you go watch them? *smiles*

I doubt I can *smiles*. There will probably be too many people for me, there will be no room to move so I'll just stay and work in my basement like a hermit until it's time for the tour and all that.

I guess you can't be going to the Southern Isles then.

Not during the Olympics but, maybe I'll go once recording is over *smiles*.

Will you? *smiles* You do have a rather packed year coming up with BUCK-TICK.

Yeah, the latter half.

It seems like you set the bar pretty high with the degree of perfection executed in the creation of "No. 0" so I had thought that all of you would want to break away from the band a bit and want to do something different but that doesn't seem to be the case.

I wonder why. We all have various things going on in our minds right, but I think we all agree that making "No.0", and then the lives we did, it felt complete you know.  Maybe that's why they didn't even think about wanting to do something outside of BUCK-TICK?

Maybe.

I don't know, I mean it might be? I know that for me personally, it was being on stage during "THE DAY IN QUESTION", and realizing that we've been doing these lives for twenty years, and when I look out at the audience and I see their smiling faces, or see them crying, it hits me once again that yes, this is why I make music. That was our whole basis in the past for making music and doing lives you know, and I thought it's why I want to keep doing it. I mean I guess it's a huge ego boost too, but when I look out at the audience, and see their faces, I know that they're happy we exist, and that makes me want to share more with them and be in the same space together and enjoy it with them.

I see.

I think this is something we've come to be aware of in the past, that if this was something we were sick of, then we wouldn't be able to keep doing it our whole life.

Those are powerful words. You've come to be well established with your fans so would you say that's a strong motivation for you?

Yes, yes, exactly. Personally, I think I just want to see the faces of those who come to see us. I've just come to have this feeling you know. Like oh, you were able to come see us again, I hope you have fun. Because I feel like we're connected now.

What a nice thing to say.

I tried to make is sound epic *smiles*.

Don't be shy about it *smiles*.  Well then, it looks like there won't be a Hoshino Hidehiko solo on the horizon for now.

Or ever again.

Because you just confirmed it *smiles*.

Because I'm pretty sure there won't be *smiles*. I just don't feel a burning need to do one. I think that's how we're all feeling now.

Certainly. I feel like ever since "No.0" the five of you have become more united as a band, and that you've become stronger for it.  It's like no matter what you guys end up doing, you'll do it together.

Because we rely on each other. I think that's why, and I think that might be why we can do so much together you know. We're older too right, so we also understand that it's important to direct our energy outwards. Like in 2019, Sakurai-san and I were both sick right? When I think about that I feel like I just want to do the best that I can, with honesty. Because I don't know when BUCK-TICK won't be able to continue.

That's what happens when you look back on things right.

Right. That's why I think it's better to direct that energy outward. I guess that's how it is for a lot of people though *smiles*. But now I know, this is what I want to keep doing for as long as I can.

I feel like I understand.  Because you have no idea how long you can keep doing this for, now of course you want to keep doing the things that you can do.

Exactly, and now I think that's how we're all feeling. I mean I didn't ask if that's what they were feeling but, somehow I'm conscious of it, and I know it's true. I've had this feeling for a long time *smiles*.

[nopperabounet]

Fish Tank 95 Interview with Imai Hisashi Reporter: Okubo Yuka Translation: Lola

 How did you spend New Year's?

I spent it at home, and ordered in traditional New Year's food from my friend's restaurant. That's about it.

Looking back on "THE DAY IN QUESTION 2019" tour, was there anything that left an impression on you?

I've forgotten by now . . . . . but I was happy to do it. Because we started in Gunma . . . . . . you know, I feel like nothing's changed from last time, I'll just end up saying the same thing as before.

Right *smiles*. Since nothing really changed before or after, why don't you tell me about the image you were left with when it was over?

Sure. Well, I was glad it was rousing for people.

I found your guitar playing especially impressive, like your arrangement for "Hamushi no you ni".

Ah, well I did change it.

Afterwards I went home and listened to the CD again, then re-watched the live again, and the arrangement really is completely different. It was incredible.

I'm glad. See because there's nothing really special about the guitar in the album version, so for the live version I was free to put in all the noise I wanted right, so when I was practicing before going on stage I knew I wanted to try some things out, and then suddenly when I tried that phrase out it was like, "Oh! That's pretty damned good!"

You ended up using your new sound effectors too for the live right?

I did. I wouldn't have been able to do the intro for "Datenshi" otherwise.

It was your first time performing "Datenshi" live during this tour so how did you find it?

I wondered how the audience would react to it, but I think they enjoyed it. I think it went well.

I know we even talked about this a little bit afterwards, but  I was happy with the new arrangement of "SILENT NIGHT".

Up till now we've never really done "SILENT NIGHT" with clicks in it but then I get this request from Hide, "Can you get Yoko-chan to do some synchronization for me?" So then I'm rushing to Yoko-chan . . . . . . "Sweet Yoko~ please~" I was super nervous about it but it turned out well.

Yokoyama: Pff, except there was no calling me sweet Yoko *smiles*.

*smiles* Any incidents happen during the tour?

Oh . . . . . .I pulled a muscle in my finger.

You've continued the trend from Makuhari then *smiles*. For the five performances you did, each time the set list was a little different right?

We changed the set lists while we were doing them you know. Even while we were rehearsing for the actual shows we'd try different things out, and then we wanted to try doing those things on stage. That's how it was for our performance of "New World" in Takasaki.  Then for the last show we added one more song. I said it'd be good to play "Aku no Hana" and "Dress".

In the previous issue when we talked about this, you said you had suggested "Iconoclasm" as well but it didn't end up getting used.

Yeah, that's just how it goes sometimes, ultimately we can't do everything.

Going back to what we were just talking about with "SILENT NIGHT", pairing it with "Snow white" to create a winter section to the show was impressive.

Right before "Snow white" starts, I was about to play guitar a little. But then I didn't end up playing anything for about a minute. Then I ended up kinda butchering "Let it Go" from "Frozen".

What? You did this in Yoyogi?

Yeah, in Yoyogi. I mean I played it but it came out kinda harsh because of the effector I was using so I doubt anyone even knew I was playing it.

I had absolutely no idea. Would I see it if I re-watched the WOWOW stream?

Moreover, usually if I'm using an effector for a sound I adjust the settings to get the feeling right for the song, but I hadn't done that this time. So it just didn't work out.

So you hadn't planned on doing it?

No. It just happened that the day of the show I thought it'd be good to try the effector out for the sound, and then it didn't come out as I thought. I was like, "Huh?" *smiles*

Well now I have to re-watch it on WOWOW. . . . . .

Well, I doubt you'll notice *smiles*. Even though I'm the one playing it I have a hard time noticing it. So I don't think anyone will get it.

I'll just try to be extra attentive when I watch it. Before "SILENT NIGHT" were you playing John Lennon's "Happy Christmas"?

I hadn't intended on playing John Lennon. But as I was playing it I did have that thought, "Hey, this is John Lennon's song" *smiles*. But it wasn't his melody though.

You don't think so? OK *smiles*.

Hm? Oh, but did you know I played "Oshougetsu[1]" for "LOVE ME"?

Yes. I absolutely knew that was "Oshougetsu". What did it feel like for you, to be looking out from the stage your first time playing in Yoyogi Stadium?

It's sooooooooo long. Because of how far the hall goes I was a little worried about the sound you know since I wasn't using an ear monitor. Kinda like with Makuhari, I was worried that the length of the hall would end up making the sound terrible and I didn't want that, but I wasn't super anxious or anything. I'm glad it was able to sound OK.

Yagami-san told me he was nervous because the hall was so big, but what about you Imai-san?

Anii's always saying that. "I'm so nervous!" I mean of course I thought it looked different because it's not Budoukan, it's bigger. And I wondered if people in the back would see properly.

This year the final performance was on December 29th, when it was announced that you would do another show in Budoukan this year there were shouts of joy and I wondered whether people thought Budoukan was better or not but either way, I think they have a soft spot for it as a place.

Because we've already played there so many times. It's just easier for us, and easier to see too I think.

You also announced the release of a new album in summer, which you've only just begun recording for but, did you start working on songs again starting with the new year?

No, I didn't start right away. It's been since about February, I guess.

Has your song writing been going smoothly?

More or less. For starters I have five songs. I'd like to write two or three more. Because I want to have about thirteen songs on the album as usual. They're quite enthralling. I hope you're all looking forward to it.

You posted on your instagram about the album's theme, but you just posted a hashtag with blank circles.

Yup, seven characters. Because I can't say it yet.

Are those seven characters in hiragana or is it seven letters from the alphabet?

It's not letters from the alphabet.

You got a lot of responses from the fans about it didn't you? Did any of them guess it correctly?

Nope, no one.

Yagami-san told me that after hearing your songs and the impression it left on him, he guessed it might be something like "げんてんかいき[2]". Because that's seven characters.

That's not it either.

It's not? When you were working on "Datenshi", you said the keywords were "veering from the norm" but will you be moving away from that to something different with the album?

Look if I end up saying things like "it veers from the norm" or it's electro or it's alternative then what happens is that I end up stuck on that when I'm working on it because it's in my head, and I hate that. So instead I'll just say I want to make something good.

I'm looking forward to it.  Before the album comes out, you announced that you will be doing a Fan Club and Mobile members only tour in May[3]. I imagine you haven't thought about a set list yet, but what sort of tour do you think it will be?

I have no idea. It hasn't even really crossed my mind *smiles*.

Well then would you please offer a message to everyone looking forward to the lives?

I want to do something fun and awesome again, so please, you have to come and have fun with us.

   [1] "Oshougetsu" is a traditional Japanese New Year's song.

[2] Pronounced, "Gentenkaiki", this translates into "Going back to the start". I left it in Japanese because obviously in English it's not seven characters.  Also . . . an interesting note about 'kaiki' is that it sort of implies that the cycle of returning is eternal.

[3] Regrettably this tour ended up being postponed due to the Covid-19 pandemic. Please follow BUCK-TICK's official site for further information and updates.

[nopperabounet]

This took a little longer than anticipated, but hopefully it brings some cheer this weekend for everyone!

Please enjoy this lovely, and very relatable interview with Imai~

音楽と人- PHY vol.15 February 2020 Personal Interview with Imai Hisashi Text by Ishii Eriko Translation by Lola

 First off, how did you find the five "THE DAY IN QUESTION" performances you did throughout the country at the end of the year?

I think they went well. It felt good to do them.

I got to see the Tokyo show. It felt a little strange to me too, maybe because it wasn't at Budoukan.

Because it was our first time playing there, so we had no way of knowing how things will sound. And you know I don't wear an ear monitor either.

What? You don't?

The two guitarists, me and Hide, neither of us had one. So I did wonder how the sound would be. Because  the thing is while I'm super used to how things sound in Budoukan when it comes to a venue, I was also looking forward to performing in Yoyogi even if I was a little nervous about it too. But you know once I was actually there doing it, I wasn't worried about it at all.

Was there a specific reason you refused to wear an ear monitor? Is it because it feels more natural without it when it comes to syncing the sound?

No, I've just . . . . . .never ended up wearing one *smiles*. Because I'm thinking about the songs you know, and if I wear it, then I can't get a good sense of the mood all around me. And then sometimes there's these clicks in your ear . . . . . .and that just annoys me I guess.

Hahahaha! But aside from that, are you saying it's more important for you to feel the vibe of the show than to balance the sound with the band?

Yeah. Well look, I'll do it this way for as long as I can. I'm sure soon enough the point will come . . . . . . when I'll have to use one though.

Even if up till now you thought it was better not to *smiles*.

Well like for the Makuhari "Locus Solus" shows I ended up not wearing an ear monitor even though I was about to right before it started. So I ended up playing by intuition alone.

By intuition alone. And you still ended up in sync.

Well, I did ask everyone if they thought I was off. They had a few things to tell me about that *wry smile*.

I had the impression that the set lists for "THE DAY IN QUESTION" and "Locus Solus" contrast one another.

Ah, yes, I think so too.  But it's not like we aimed to do that specifically. Because it's not like we ever have a specific concept in mind for "THE DAY IN QUESTION". Other than let's make it fun since it's an end of the year show.

Like, "Let's get together for the end of the year!"

Right.  So that's why there are times when the theme for it seems a bit lighter. But I'd say overall it goes in a very dark direction while still leaning towards something upbeat. Like, whatever happens, it'll be alright.

OK. So let's get into talking about work. You've been working on songs since summer of last year?

Yeah. Well, that's pretty early for me. It's not like I've been steadily preparing things way in advance, it's more that I've taken the steps necessary to start working.

Imai-san, are you saying thinking about working is enough to get you to start working? Or is it that time doesn't matter for you because you always have ideas planned out?

I don't always have stuff planned. To a large extent it's more the whims of the moment, so once in awhile I'll jot down a couple of notes in my work office to work from later.

Well, as you will be working on things perhaps you could tell me what sort of theme you have in mind this time? Or give a hint?

Hm . . . . . . I don't really have any in mind but once I get started, I'm sure something will come to me. I mostly just fumble through while I'm working until something jumps out at me, and that's what ends up being used. Something that feels like it veers from the norm. Or more precisely, something that goes against the rules is what I enjoy. That's the kind of image that comes to mind for me. But even now, I haven't really been able to put it into words.

When you say something that deviates from the norm, isn't that basically what BUCK-TICK has always been about?

Yes, exactly. Because in the end that's what's always swirling about in my mind, so it's better if that's what I put into words. But it's like . . . . . . if I try to talk about this feeling in a specific way then it's like, "Um, I guess it's not really a concept I can put into words." *smiles* By making it into an album, in some respects this makes it different yet again. I would say that's the point that makes it interesting for me.

So you're heading in a different direction yet again from "No. 0".

Yeah. I think it's because I just want to do something interesting. Like we have two guitarists, then there's the vocals, the drums, and the bass.  With that composition, I can't really make something fun with it because there's a tendency to go in a heavy direction, sound-wise. I'd like to try a different band sound. Whether I can or not, I don't know yet since I'm still in the midst of fumbling my way through it.

It sounds to me like it's still the case that no one knows what your band's style is exactly, wouldn't you say?

Yeah. I mean that's kinda the cool thing about it still, and I'd say it would be impossible for me to find it interesting otherwise.

It's what keeps you passionate about it. When it comes to the band itself, even now though you've been around a long time, there's no way you could say that you guys are just, "doing the same old thing as before".

Right, exactly. I feel like that's also what makes a cool thing cool to begin with, usually. But at the same time, I can't only adhere to that because that's like putting the cart before the horse a bit you know, so in the end I'm just flailing and wondering what I'm doing *smiles*. That's my current status. I'm like hm, maybe I'll go in a more electro direction, maybe I won't put in a guitar sound at all. I'm still not sure at all about any of it.

For "Datenshi", you used a rock'n'roll sound that was bass-centric.

Ah. Well, that's just because that's how the first riff turned out somehow.

Just how it turned out *smiles*.

It's not like I thought, "This is such a cool riff," when I started working on it you know, it's just super simple. Riffs like that are pretty typical really.

Certainly, you can hear how it comes off as a parody by moments. It feels like something by T-REX.

Yes. Because that's sort of the typical representation of a super simple rock riff. I'm really glad I used it. From there I made it a touch more pop, but more extreme, I made it sharp, and noisy, and I wanted it to have that image of being restless.

It's also another way to represent deviation isn't it. As you said, it's incredibly extreme, but you know I did wonder, Imai-san, if maybe you were trying to be like The Ramones?

No . . . . . . I'd say it's like my band Lucy, and the two albums I put out with them. After all, when I had started working on those albums, I put in all sorts of different sounds until I got something with a more simple rockin' vibe, so I had already begun to establish that sort of sound back then. I figured it would be fun to explore that completely. But it's also good if I don't only do that sort of thing.

It seems that way with SCHAFT too. You were limited by it being industrial. Did you think there was absolutely no way you could do that with BUCK-TICK?

Yeah. I couldn't've.  If we're talking a purely authentic rockin' or industrial album, then no, I definitely couldn't do that with them.

You couldn't do it in the typical sense *smiles*.  It's certainly an incredible thing, to do a single genre and follow through faithfully, but I'm guessing you're not really interested in doing that anymore?

Nah. . . . . . . . . . . . well, it's more that I haven't really thought about it.

Hahaha.

Back then I had a surge of interest to do it, that's all. I think that's why I was able to do it honestly. So you know when we all gather to talk about stuff before recording? It's never like, "This time the concept will be this, and this, and that." Because every time, we're just like, here, we did this.

Oh, you're talking about when you have a meeting at Victor Studios?

Yes. We meet up to talk, we hand over our demo if we've got one ready at that time for them to listen to, and then afterwards we go out to eat . . . . . . . and that's when we get into a deep conversation *smiles*.

Yuuta-san told me that your demo was rather rough, Imai-san.

Recently, yes. Because of the kind of song, it's got a four beat dance rhythm with pretty much nothing but bass at its centre. I said something like, "You know how you don't need words for a song to touch you emotionally?"

So you're leaving it up to the other members to convey that.

Yeah. I think it's not really a good song until it does that. Until it reaches that point where you've done everything you can with all of your might without ever giving up, and then you realize that yes, see, you can do it, you already have.

What happened to make BUCK-TICK become like this? It's a fairly recent thing, isn't it?

It is. But it's been since "Kedamonotachi no Yoru", and then it influenced the most recent single too. Previously, I'd say we were just making stuff that was rather trivial but, even though I made it, putting that stuff out wasn't really . . . . . .that interesting. Like there was a moment when I realized that it might be better if I don't only do the things I like all the time, and it might be more interesting if I don't.  Because of that when Yuuta told me, "Well, what do you think of this?" I said, "You know, it's not really my thing but yeah, go for it."

Did he need you to say those few words? *smiles* But you know I think if you didn't have that realization, you wouldn't really be able to be in a band you know. Like there are people who think they can do everything by themselves even if they're a part of a band.

I doubt they'd be able to do it *smiles*. Even for me recently, I've really thought about what other people have to offer. When I started working on the demo, I do it all on the computer at first, but even I'm debating every minute thing in my head, and I just end up like, "This isn't completely inspiring, it's crap." Honestly, even before, no matter what I create that's how I've felt, but gradually, I came to realize that you know, it might be better if I chill out a bit.  So now for instance when Anii changes up a phrase in a song, I'll say, "Oh, you know that's not bad, it might be better that way actually."

The vocals change the demo immensely as well, don't they?

They do, yes. Because Sakurai-san takes my crappy English that I sing at first, and changes it into Japanese. So of course with that the mood changes, and with the way Sakurai-san picks up on the notes as a vocalist he's able to say, "Ah, you know, I think this would be better here." Because that's the thing right, a demo tape is just that, a demo, and if you only stick to the demo, then you'll  never be able to surpass it. I think it's better if they don't just copy what I did, because it's by altering it and removing bits that eventually great things come about.

This is another way of breaking from the norm too. This might sound like a silly question but, why is it that you hate rules and following a set path so much, Imai-san?

Well, it's not that I hate them.  I'd say it's more that I like going beyond them. I do think there are times when doing something by the rules deliberately can be interesting too. I guess I just think that it's by trying to do things that rules end up being ignored.

Maybe that's the real thrill of it for you. You might think saying you're a pioneer is an exaggeration but, would you say it feels like none of you have found that thing you're looking for yet?

Yeah, that's a part of it.

Or would you say that it's more that you hate following a fixed format, and you want to break free of that?

Ah. . . . . . .well, I think it's simpler than that actually. I just want to create good things, incredible things. But like you just said, there is a certain feeling of being a pioneer within that like when I wonder, "Is this brilliant enough?" I mean I'm being kinda vague but, I've always thought like that.

OK.

Because that's how it works for me in practice I guess. From the start, I'm working to discover something in it, and when I do, it's like, "Yes, this is it!" But it's not like it's something that I've made up myself, it's more that it was there from the start, and I was just able to stumble onto it by chance. Sometimes that's just how it goes I guess.

So you don't make it up in your head?

Oh, of course some songs are what I've made up. Somehow I end up polishing whatever's swirling around in my head. But that's not how it is when I feel like I've really found something, those times it really is more that I just discovered it by chance.

It's what keeps the five of you going.

It is. Of course there's also the part of me that wants to put things out there, but I think, that's everyone who creates right, it's what makes you a creator. I think everyone who considers themselves an artist has that feeling. And I think if you let negative feelings win, then you end up wanting to quit you know? Like, "Bleh, this is too much work, I don't wanna." At least that's how I always end up feeling when I'm working on music and lyrics.

What do you mean by "everyone"?

It's just what I think. Like the other members, and Sakurai-san. Everyone who creates. I mean, we don't just churn things out automatically.

Even Yuuta-san, and Anii-san? Even though they don't write music?

Yeah. Like for those two, before they put something out first they have to listen to it, then they have to go into the studio and practice. So in order for them to get to the point where they can play the drums, and the bass for a song, they also have to play around with the phrases, and that's a form of creation. I think that's why we keep creating. I doubt it'd be the same if we had different members.

It's because it's you five that it works like this.

Yeah. Exactly.

It's absolutely incredible to me that you all have the will to create even now. When I heard that you guys would take a bit of a rest after the "Locus Solus" shows, I thought for a moment maybe you'd work on alternate projects, like maybe you would do another Lucy album.

Oh, that hadn't even crossed my mind. But I mean I wasn't really thinking of it as a break in that sense either.

Oh, really? But I thought you had done something to make you feel refreshed?

No . . . . . not really. Nothing specifically.

At least doing nothing meant finding that simple riff in "Datenshi", so now you won't have to pursue that kind of darkness and heaviness anymore right? Better to let that go.

Ah, yeah.  I'd say so. Like without that it wouldn't be rock, I'd really say it was pop. It kind of has that pop song feeling to me, even the words have Sakurai-san's style of brightness to them, that's why I thought it would be good to put them in.

Speaking of Sakurai-san,  he seemed pretty depressed last year.

Ah. Yeah, well . . . . . .that's because he was keeping quiet about some things for a super long time you know. So we just . . . . . . let him stew.

OK *smiles*. I guess that's why there's such intensity in certain lines in the song, like the "Ah ha" part.

Yes. Exactly.

I'd say "Luna Park" could be considered pop too so is that a hint of what is to come in the next album?

It is. Yes. I think it's going to be really incredible.

[nopperabounet]

FT 095 - Sakurai Atsushi Interview

Fish Tank 95 Interview with Sakurai Atsushi Reporter: Okubo Yuka Translation: Lola

 How did you spend New Year's?

I didn't do anything in January, so I honestly can't say much about it.

Really? In that case I'd like to go back and talk about "THE DAY IN QUESTION 2019".  So on the first day, you played in a new venue in Takasaki.

It felt rather special you know, to have our first show be in Gunma as it's also our home turf.

How did you find starting the set list off with "Muma - The Nightmare"?

It felt like a powerful way to start. No matter which song it is, or how many times we've played it, I try to make each part compelling to listen to by having a clear image during rehearsals, and I think that came through.

Including the two winter themed songs, "Snow white" and "SILENT NIGHT" made for an impressive performance.

It seems like Yuuta and Hide were in agreement about that. Like if we're going to do a segment with two winter songs, then these two feel right for that. I think they left an impression on everyone involved. Back in the day, I would sing with the guitar for "SILENT NIGHT", but now because I have the ear monitor, I can adjust the sound the way I like so I wondered what it would be like if I sang with the rhythm parts. It worked out because I didn't really mind it.

As for "Datenshi", it was also your first time performing it live even though you had already recorded it. How did the audience react to hearing it for the first time live?

Even though we've played the song and heard it a number of times by then, the audience knew absolutely nothing about it. So I think it's a little hard to say, I mean they only heard it once. But I did wonder what sort of impression it gave everyone.

You also changed the set list up a little bit for each venue.

The idea came while rehearsing for the first show in Takasaki, I thought if we're rehearsing them anyway, why not perform them all, this way we can do our utmost to ensure that each show has a different feeling.

Were there any incidents during the tour?

No, it ended without any incidents . . . . . . Well ok, there were a couple of little hiccups. Like my surprise at the intro that sounded like NIN [1].

Oh, are you referring to the "LOVE ME" performance at Yoyogi?

Yes. I was taken aback. Like what? Is this really how the song goes? *smiles*

Did you end up double-checking reflexively?

I thought something happened because of where I was on stage, so I wanted to verify.

It was also your first time performing at Yoyogi Stadium, how did you find being on stage there?

The people who are high up and in the last rows are terribly far away as I expected. But at least the audience can watch the show on the huge screens. It's just that there's really absolutely nothing I can do about it, they felt too far away. I told them I was sorry they were so far. There wasn't even anyone directly in front of me to soothe my heart[2] even though both sides of the venue were filled right to the back. It felt a little strange.

Were you nervous?

Even though I'm doing this with others, I do have to concentrate on drawing the performance from myself, and that's not something that changes even if the venue does.

One thing that was different on that day from the others was that there was a camera above the stage during "Saibougu Dori: Soramimi: PHANTOM".

As always we had Hayashi-san as our Director, and as he always does, he came up with a few ideas on how to change things up for us.  So he said, "What do you think of having a camera above the stage?" And we said, "Sounds great, let's try it out." I thought it was funny because that was all decided without us knowing that it would be live streamed on (WOWOW).

I know "LOVE ME" isn't exactly meant as a happy song originally but, I thought it was incredible, it had that great rousing feeling like a grand finale. It was moving.

That was the point of choosing this song, I thought it might give that feeling. And I was thinking that if it's the absolute last song, then it might make everyone happy, including Yuuta *smiles*.

Yuuta-san?

He hadn't picked it as the last song, but it was his song choice. We've ended shows with it before as well, and you know, once in a while I think it's good to do that.

Before the super rousing "LOVE ME" performance, you said, "Let's love ourselves." These are impressive words, so what were you thinking about to make you say that?

When you translate it directly, it's "Watashi wo aishite"[3], but I think it's important to love yourself first. This even ties into what's coming in the new album, so it's been on my mind a lot recently. But it's not like I had arranged to say that or even talked about saying something like that, it was really just me letting out my personal thoughts in the moment. I wasn't trying to sound super serious or anything, but I was trying to say that nothing will start if you don't take care of yourself first. I figured it would work with this song.

Hearing you say that, and considering what you told me about writing the lyrics for "Datenshi" in the previous issue, I thought you might like to talk about it a little more.

Thank you for that. Last year, lots of people came to our concerts, and so the year felt incredibly complete.  It was just that I had a lot of stuff going on in my personal life, like my friend passed away, then I was hospitalized again, and the balance between my mind and body had seemed to once again deteriorate so it was a very off year for me.

So have you turned over a new leaf with this new year? Or do you feel like your struggles are still ongoing?

It is something that I am actively working on, but at least I can put my feelings into work in this way, and use that energy to create something. So I'm not just bottling everything, and so with the new year I've slowly come to be more at ease with myself thanks to those around me.

I'm so glad. Right now you're in the midst of recording, and you've been putting in the vocals for Hoshino-san's songs right?

Yes. Our little ant has been hard at work as always *smiles*.

So you've been working with the ant and the grasshopper?

Actually, I haven't had a chance to see the grasshopper recently. Because we never hang out *smiles*. Recently I heard that for the grasshopper it feels like New Year's only just ended.

He told me he has five songs ready.

Really? Good, he's serving his purpose well enough for now then.

How do you feel about being done with the lyrics for both of Hoshino's songs?

I finished up with the second song today. It feels like I'm just getting by, doing things one step at a time.

It's good to have a range in what you're able to say in songs, but what sort of feeling do you think the songs may have when they're done?

I'd say the one I recorded today has that swing beat pattern like festival drums.  Like heave-ho! Heave-ho![4] *smiles*

That's . . . . . .hard for me to imagine so what sort of lyrics did you write for that?

Fruitless ones[5].

Do they tie in with what you put out before with "Datenshi" and "Luna Park"?

I think I can sum up my position in "Datenshi" by saying I was confronting my own feelings. It's a dark song, so it moves away from that festive direction. It's that depressed feeling of being unable to guess a person's feelings completely. So it's like, ok from now on, I will strip away the mask I wore to protect myself.

Did working on the lyrics for the other two songs go relatively smoothly?

I always worry you know. I change them right up till the very day I'm going to record the vocals for them because there's no way for me to know if they're ok. I have to check them over myself. So I worry but,  I've been trying to tell  myself it's better if I just do what I like.

I still can't really get a full picture of what the album will be like but, how do you think it will turn out to be?

You know I'm not sure, I'll know more once I've heard more of Imai-san's songs.

According to Imai-san, the album's theme will be a word with seven characters. So that means he must have a precise image in mind.

That's his hint?

That's his hint. *smiles*

I haven't had a chance to see the grasshopper lately so I don't know. If we hadn't announced it in Yoyogi . . . . . .I wonder whether or not he'd get anything done by autumn. *smiles*

I hope his progress goes well *smiles*

I hope so too.

You will also be starting a tour in May.

If our old bodies don't give out on us before then. But I want to get through this so we can do it.

Do you feel like you have a lot of emotions you'd like to express with your lyrics?

Yes. From the first listen it was like, "Ah yes, this song will be like this." I knew right away what I wanted them to be about. So now I want to hurry up and sing them.

Lastly, would you please offer a message to everyone looking forward to the tour in May[6].

To all the fan club and mobile members, it's a domestic tour as you know but we're hoping to give it a slightly different feeling than a typical hall tour because we'd like the audience to feel closer. I don't really know if it will work out, but I do hope we can do the concerts. Also, I wanted to thank everyone for wearing things like masks during this difficult time.

   _______________________________________________

[1] I am assuming that NIN stands for Nine Inch Nails.

[2] I had a little bit of trouble here. The word used in Japanese is 'スコーン' can mean the Urdu word 'sukoon'. Sukoon refers to a state of calm in the mind and peace in the heart. Thus I translated it as 'to soothe my heart'. However, the katakana used can also be translated as 'scone'. In which case Sakurai would be saying that there wasn't even anyone in front of him with a scone. That sounded off to me, but I'm including it in a note just in case that is what was meant.

[3] Sakurai translated "LOVE ME" into Japanese here.

[4] He specifically uses the sounds cried out during festivals for the drummers, and the "Heave- ho!" is what is usually cried out by those carrying the portable shrine.

[5] The word used, "不毛" has several different meanings. Without knowing the exact lyrics it is difficult for me to judge which English word would fit best. Thus I chose "fruitless" as it had the broadest range. Other possible meanings include: barren, sterile, stark, bleak, desolate, vain.

[6] Sadly this tour has been postponed due to the Covid-19 virus for everyone's safety.

[nopperabounet]

It’s been a long time . . . but I know people could use something to distract themselves right now.

I hope this offers comfort to those who need it.

Take care, all~ ♥

Love always Lola~

音楽と人- PHY vol.15 February 2020 Personal Interview with Sakurai Atsushi Text by Kanemitsu Hirofumi Translation by Lola

 The thing is, when you keep taking responsibility for everything it feels like you have to do it all on your own you know. So for me, by singing about it, it saves me.

  I'd like you to tell me about your feelings after finishing "THE DAY IN QUESTION" at the end of last year.

I was relieved. Even though we only had one new song, and I was used to the rest, I still ended up worried about my throat as usual. But it all worked out in the end somehow.

But you didn't play at Budoukan as is tradition, so how did you find playing at Yoyogi National Gymnasium on December 29th?

The first thing I thought when I entered the venue was, "I feel so bad for the audience . . . they'll be so far away." Especially for those in the back you know, they would have a hard time seeing. But what can you do? It's always better when people can get into it  you know, it's the same issue in Budoukan.

Well, you do still perform at Budoukan though.

But it's not because we think performing in huge venues is better or anything, actually we'd prefer the opposite *smiles*. Big venues just do not suit us.

Come on, now *smiles*. Ending with  "LOVE ME" was incredible.

I'm pretty sure it was Yuuta who said he wanted to play that. And I thought it would be good if the last song we played was one that brought the audience together.

It was good.

Because  it has such great lyrics right *smiles*. It's what lets people get into it, and during that song they become one, and that swell in excitement makes me happy.

It was a good note to end the year on, wasn't it?

Yes, it was. But you know last year I had a lot of stuff going on in my private life, like being hospitalized again, and having a lot of ups and downs . . . so really it was like, "I just want this year to be over with already!" *smiles* Now I wonder, "Have things finally calmed down?" Because it's not like anything has actually changed.

Yet perhaps that is why you were able to create "Datenshi".

It was. We already had another song as a potential single though. Because it's incredibly good too. We were about to settle on that song for the single, but then Imai Hisashi came to me with another one. This was what later became, "Datenshi". While the other song was very good with its medium tempo, for me something edgy would work better  because I wanted to be able to create something aggressive . . . . . . so because that's what I was thinking, I was able to really deal with those feelings in "Datenshi".

Why did you think you wanted to be able to create something aggressive?

Because the first two songs I had to work with were very gentle. "Luna Park" is as well, so when paired with the other song at first, it ends up being that while the tempos are different, the whole mood is a relaxed one. So if you put these two together, it seems like it's a continuation of "Moon Sayonara wo Oshiete". And while I was wondering, "I don't know, I'm not sure if this is right," that's when "Datenshi" came to me like a lifeline. It was like, yes, with this I will punish myself for you completely.

What do you mean when you say, "I will punish myself for you"?

Like I'm telling myself, "See, this is why you're not a good person." *smiles*

But don't you think that because you would actually like to be a kinder person?

I would but, I think in the end it's through pain that my true self emerges in the way that I want it to. This might sound strange but yesterday I started work in the office right, and I had hundreds of messages from fans from the end of the year *smiles*. As I read each, one by one, it made me realize once again that I have to keep going, I have to stay motivated.

What do you mean by that?

Because everyone who comes to the lives has various things going on in their lives, and different feelings. There are people who come from far away with their kids, and there are people who like me lost someone close to them. Everyone has their own struggles, their own feelings, so when I looked to the very back of Yoyogi Stadium it makes me feel like ok, I gotta pull it together, I gotta try my best.

But on the other hand, some might say . . . . . . it would be better not to feel responsible for other people in this way.

You call it responsibility, but I'd rather call it inspiration. It's because of that that I think I will keep going. It sounds like I'm exaggerating when I say I'll do my best though because I'm always struggling with myself.

When you confront yourself you think you, as Sakurai Atsushi, need to be a certain way.

But it's only for a few hours you know. When I'm on stage, it's about two hours, and when I'm recording well, I try not to let it show but it's actually hard work and I condense all of my emotions into this one thing for other people to listen to, and it's really like I try to put my all into it until the very end so that maybe . . . . . .it helps someone a little. Maybe because usually, I'm the kind of guy who really is hopeless. Even today you can see the pain written all over my face *smiles*.

*smiles* Had you never thought that maybe it would be better to be more relaxed?

If I can get the fans to enjoy themselves, then it doesn't matter how people bad mouth me or post insults about me. The real discomfort comes from my constant arguing with myself . . . . . .well, I've said it hundreds of times by now but you know what they say, the child is father to the man. And now I'm the same age as my father when he died. It's really hitting me now you know.

We've talked about this for decades.

Yeah. Over the decades when I'd talk about it with you Kanemitsu-san, I really used to think that maybe one day I would be free of these thoughts but it seems like there's no way to banish them *smiles*.

You used to wonder if you and your father were the same, are you still afraid of that?

Of course, I mean the same blood flows in my veins. Because of that I have this constant sort of tug between . . . . . . compassion and hatred for him. We have the same blood type, we even have the same birthday. I mean really, of all of the 365 days of the year, why did it have to be this one! Why do we have to have so much in common? My face is even the spitting image of his. And now, I'm the same age he was.

Of course you can't help but feel like that.

Somehow it feels a bit like he's trying to lure me away. "Get over here, boy!"  . . . . . .that was a joke *smiles*.

That's not the kind of joke I want to hear!

I know. Even my older brother told me, "Hang in there until you're 54."  . . . . . .here I go again with this kind of thing *sighs*. Let's change the subject.

Well this is supposed to be about work right.

Why don't we talk about Valentine's Day?

Wahahahaha! What's with you all of a sudden!

Like we could guess how many chocolates we'll get *smiles*.

Where is the fun for me in comparing the number of chocolates I'll get with Sakurai Atsushi? *smiles*

Oh come on, are you telling me that when you come into the office your heart doesn't stop for a moment when you see them?

No *smiles*. But you know, I have been thinking about age too.

Well yes, that's something that comes with aging but, for me it's also part of my personality . . . . . . I've come to understand I can't escape it. I've resigned myself to it but, it's because it's really not something I can run from. I know I've talked about this a number of times as well but, my father, nowadays would be called abusive. What I went through was domestic violence. My father hit my mother on a daily basis. Those memories will always be with me, that feeling of constant fear . . . . . .well you know, I've talked about it a lot.

Aside from those memories, have you never thought, "Maybe I can just keep going for as long as I'm able from here on out" ?

I have. When I was hospitalized, I felt completely burnt out while also coming to the realization that I had to go on living. But I also thought I didn't know how long I could keep doing this for. I feel like as long as I am able to do what I like, that enables me to feel encouraged but then the moment I'm unwell it's like ah yes, my father is calling to me . . . . . .

You're going back to this.

I am *smiles*. It's why I want to just hurry up and be 54 already. But you know I have been blessed with some things too, like being allowed to do what I want. Recently, I've been able to do something where my true feelings come through strongly in the way I want and it's because of that that when I say I'm happy, it's because I am happy.

When do you feel this way exactly?

When we all agreed on what we were going to work on. When we think it's good, it comes through in the work. Even if it's not perfect, it's ok, as long as we think it's good. And because that's what comes through in the songs, I can consider it good too.

This is something the other members understand about you as well.

That's a major part of it, yes. Even though we never  really talk about it usually *smiles*.

Hahahahaha.

There have been times when I've been with Imai-san and Hide for like two full days without speaking a word to each other. When I notice it, it's like well I guess we have nothing to talk about *smiles*. But you know if I ask them to think about my position as the vocalist, even though you can't see it, they are considerate of me. It's because we've known each other for 35 years. Even if I never say a word, they understand me completely. Even now there are times when I'm super stressed out and tense, and they know to leave me be.

Don't you think that's why you're able to express yourself freely, because you're with these people?

Perhaps so, yes. Even if there are times on stage when Imai-san bothers me with certain songs *smiles*. And I'll whine, "I wanted to sing it properly!" *smiles* But I think it's these sorts of things that actually keep being in a band fun you know. Like, "Oh, Anii just messed up there." *smiles*

Ahahahahaha.

There are times I mess up too, and I think, "Oh no, I'm off. I'm completely off key right now . . . . . .I'll never be able to recover from this." But that's part of what makes being on stage enjoyable. It's what makes being in a band fun. Because the other members are there with me, and that's what allows me to do what I love.

Is there anything you've been dreaming of doing that you haven't been able to up till now, aside from wanting to be 54?

What, like performing in Tokyo Dome or something? *smiles*

That's what Anii said when I was drinking with him *smiles*. "I want my 60th birthday bash to be at Tokyo Dome!"

You know I'd say the complete opposite *smiles*.

Hahahahahaha, of course you would.

As long as I can perform, it doesn't matter where it is. Well, being able to do it is part of what allows me to do it . . . . .but first the opportunity has to present itself. So I would like it if the next song could come quickly please *smiles*.

Imai~san~! Imai Hisashi~san~! *smiles*

Ahahahahaha. But you know the fact that Anii is already thinking ahead to his 60th birthday and wanting to perform in Tokyo Dome is incredible to me *smiles*. Maybe that's what helps me in part *smiles*. It's not something I can do on my own, it's completely unthinkable for me, and it forced me to realize that I have to push myself.

Well then, do you have anything you're dreaming of for you personally, Sakurai-san?

Well no . . . . . .there's nothing. I'm sorry, I just, I really don't know? *smiles* Because I can't do anything on my own, I'm the kind of guy who can't even get out of bed for himself *smiles*. But you know I have been thinking that perhaps it would be a beautiful thing . . . . . .to go to the mountains in winter and freeze to death without anyone finding me.

Please stop *smiles*. Didn't you tell me a long time ago about wanting to leave everything behind to head deep into the mountains because you wanted to live out your life shaping pottery?

Yeah but not now, it's way too annoying *smiles*.

That's because you're too hard on yourself!

Because I'm so clumsy *smiles*. It's like just before when I caught a glimpse of the WOWOW footage (The show on December 29th at Yoyogi National Gymnasium was streamed live), and I thought, "I'm such an idiot." *smiles*

Ahahahahaha. Because of your MC?

Yes *smiles*.

You fumbled to find the right words, and then after you looked so bashful and it was all projected on the big screen *smiles*.

You really didn't think I was an idiot?

No, I just thought it was cute.

Hahahahahaha.

Don't you know that seeing that side of you Sakurai-san is what makes everyone in the audience love you?

I'm grateful for that. Because I've been thinking . . . . . . it's better when I'm honest, that's how I have to be in order to be the kind of rock star everyone admires.

I don't think everyone expects you to always be cool though.

I'll  still do my best.

So what kind of year would you like this one to be?

It seems like there's nothing I can give away in an interview. I would like to be healthy in both mind and body. Because when I got sick, my heart sank into depression too, so I'd like to get healthy somehow *smiles*.

You've announced that you will be releasing a new album in summer. I know you're still working on it but, what sort of songs would you like to have on it?

As I mentioned earlier, we had another song of Imai-san's as a potential single that wasn't "Datenshi" but is incredibly good. It's his music and my lyrics. It might just be the best we've ever done together until now . . . . . . it might be awkward though if I say it's about overcoming hurdles *smiles*.

No, no! That's a good thing!

It turned into such an amazing song because the feelings in it are real. I'm happy with "Datenshi" as a single but,  I was really worried about it until the very last minute . . . . . . because I wanted people to hurry up and listen to this one first you know.

What are the lyrics like?

Ah. It's like, this again? *smiles* But while I think in some ways it sounds like I'm just saying the same thing, it's really not just about that you know. Because even though I made it into a song, it's not about me. I know it's not a big thing to write a song but, the thing is when you continually take responsibility for something it feels like you have to do it all on your own. I sing about it because it's what saves me.

I thought you said can't possibly change. I mean you said the child is father to the man and that you have been indelibly marked by your childhood memories.

Yes, that's true. That's why I can't be cool you know. Even if I borrow an image from somewhere and think I'd like to perform like that, I can never really break out of doing what I like because it's what suits me. But I can't only be about work. But at the same time, it is something I'm certain of, and it's good to feel like you know your place. Whereas when it comes to my daily life, I don't really know where I belong *smiles*.

What do you mean?

At work there's my dressing room, when I'm on stage, there's a mic for me at the center, and when I'm standing there singing with the rest of the band next to me it's very clear to me that yes, this is where I belong but then when I come back to my daily life, there are times when I feel like I'm not sure where I should be . . . . . .I'm sure that's my true character showing.

I know this about you *smiles*.

I know this is late in coming but, when it comes to work I really give it my all in the end *smiles*. Because it gets me out of the house, and away from my burdens.

Oh, I see. When you're being Sakurai Atsushi of BUCK-TICK, you try harder.

Because ordinarily I feel like an invalid *smiles*.

Hahahahahaha. Because it bothers you when you're not even sure where you belong.

That's why I think I have to take better care of myself, whether I'm on stage or at home. Because I am grateful for it all, from the mic at the center of the stage, to the lights.

Because you know it's where you belong. *smiles*

Yes. It makes me happy.

Because that's something everybody wants. I think it's wonderful that you're happy, Sakurai-san.

Thank you so much. I think I'll be ok . . . . . .it seems I might be, because I am happy.

[nopperabounet]

Changes

Hello,

w_b here. I suppose, long time no see?

I'm sure you've noticed the complete lack of updates these past several months. Truth of the matter is, we're both too busy to give the site proper attention at the moment.

Buuut, there are two things I need to address right now.

The first concerns several questions I got about Kyoudai: tsuioku no hide. To answer them, no, I do not plan on translating further chapters from the book. If anyone out there wishes to continue where I left off, please feel free to do so.

Issue number two concerns the Fish Tank information provided on Nopperabou. After eight years in the fan club, I've decided it's time to leave. Meaning, soon I'll no longer have access to any Fish Tank information and would be unable to keep the FT Overseas page up to date. I've decided to close the information page down in mid-January 2015, about two weeks after I receive my last copy of Fish Tank. I'll also no longer be able to provide information about FT contests. I'm happy if I managed to help some of you over the years, but the time has come to call it quits.

Big hugs to each and every one of you. <3

w_b

[nopperabounet]

Fish Tank 72 Contest + Newsletter Subscription Issues

Hi guys. Here's the most recent Fish Tank information.  First, there is a contest still running in FT72! You can win The Little Prince goods autographed by Yuuta, but only until August 25th! For all contest details head on here: http://nopperabou.net/ft72contest.htm FT have also requested that all concerned fan club members verify their email newsletter subscription.  Please head over here for more information: http://nopperabou.net/ft-testemail1.htm Good luck to everyone participating in the contest!

[nopperabounet]

Hi guys. Teeny-tiny PSA to let you know that we'll both be off the grid and unreachable until at least mid-month. If you have any comments/questions/messages/anything at all, we'll happily read them when we get back! w_b <3