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octranslations · 7 years ago

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OUROBOROS Photobook - Kaoru Interview

Thanks to kzaemonn for allowing us to post this translation!

Kaoru Interview“No matter how good of a condition the band is in, there is no way of stopping the time that we have left to ourselves. But we believe that we should constantly do what we want to do now—what we can do now.”

-The first question will be direct. I think that the two days of Budoukan was very different from the past tour finales.

Kaoru: Yes. I was in a very good mood going and I was glad it ended in a good note. To be honest, I didn’t know what kind of show would end “UROBOROS” but I think we were somewhat close to our ideal goal. For a long time we were looking for “something we can only accomplish” and I feel that we were able to fulfill one of the many to come. And not only did it come from only us, but the atmosphere that Budoukan was able to give even a better vibe.

-And be honest with me, after the first day, were you able to get any satisfaction?

K: No. My initial feeling was: “We can’t go on like this”. Every time we play in a big arena I feel like we want revenge. I felt that we had to step it up. There was that sort of pressure after the first day, but surprisingly, I felt none of that sort of pressure the second day. I was able to walk on stage like any other show and play the guitar like another show. I felt no stress at all. I think it’s rare that I was able to stand on stage that naturally. But then again, I guess I got over it and I had the mindset that there was no way we can do worse than the first day (laughs).

-I don’t like to determine whether a show was good or bad depending on how the sound was. I felt that the first day’s sound wasn’t the best but I think there was an inspiration beyond those minor problems. But when I saw the second day where everything seemed to fit together and flow really well, I thought to myself, “This is how it should be”.

K: Yes. The first day should have been like that. We showed something that was very regretful to us to the people that were only able to see us the first day. That’s completely our fault. Yes, as a result, we wouldn’t have had our second day if we didn’t have the first day, but I wish we could have nailed both days.

-Did you have a feeling of revenge after the Osaka Castle Hall show?

K: Yes. But, I had a feeling of revenge towards “UROBOROS”, not Osaka Castle Hall. We weren’t able to express ourselves as much at the point. Honestly, we knew that that would happen but we also felt that we needed to nail it. But because of that, we couldn’t. Simply for the reason the “UROBOROS” wasn’t as clear in our minds as it should have been. Rehearsing it over and over didn’t mean that it would sink into our minds.

-But at that point you already knew that the story was going to end at Budoukan, correct?

K: Yes. But I didn’t have a clear image of what the landing point would have looked like. I just kept in mind that we would play Budoukan like any other show. The tours in the spring after Osaka Castle Hall, the tours overseas, the tours in the fall… It shouldn’t be any different from that. That’s how I thought of it. Basically, every show was played as if it were the tour finale. Budoukan just happened to be in its time and so we happened to put an end to it so we just had to do what we always do in Budoukan. We play every show so that we won’t have any regrets. The mindset of being able to nail it at a large arena was actually only in Osaka Castle Hall since it was the first time we were presenting the whole album in front of an audience. Every show after that, including Budoukan, is all the same. Feeling wise (as in to play like there was no tomorrow). I felt that if we did that, we would see an interesting scene at Budoukan. So instead of playing a “special show” somewhere, I thought that playing a show like it was a usual thing was the best way of feeling good. Of course, we would change up our presentation depending on how big the gig is. We felt that we shouldn’t consider anything else.

-So there was no need of preparing surprises for larger gigs?

K: Of course we played songs that we rarely play but that wasn’t because we thought “we should play this song because it’s the place”. We wanted to treasure our style and our flow that we have developed over this year. We wanted to express what was filled in our existence in the two days. Of course we had a limit of what we can play and that’s not all we can do. But as a result, I feel that I finally have a memory at Budoukan.

-You actually have a stronger memory at Osaka Castle Hall?

K: Yes. We actually played at Budoukan four times. Four times during our Indies, during “MACABRE”, twice during “Withering to death.” and the two days that we did this time around. Until now I felt that if we were to play a large show with a big audience, it would be this place. (For those of you who don’t know, Budoukan is sort of a sanctuary to play shows for Japanese bands) But after the two days, my feelings changed. It’s starting to become a more important place. I see it as “a show that we played at Budoukan”. I think the reason lies there.

-I think you can say that STUDIO COAST or Nanba Hatch is more like your home ground. I think you can say that the DIR EN GREY you watch there is more natural. And I think Budoukan has made the thought even stronger.

K: I think so too. Actually I was a bit nervous the first day, but it was really not much different from playing at STUDIO COAST. I only thought “it’s only a little bigger than any other show”.

-And as a result, “DIR EN GREY’s Budoukan” was able to formulate.

K: Yes. That’s why I’m glad we did this. But that doesn’t mean that if we had the chance we would do something similar. I think the people that watched were able to see “DIR EN GREY playing at Budoukan” naturally, not “they’ve finally made it here!” or “it’s special because it’s Budoukan,” but more like “I want to see them at Budoukan again”. Of course, people probably like to go crazy at smaller gigs though.

End of Part 1

-That sounds like people are holding back. There’s no way no one wants to not watch you guys again at Budoukan. Kaoru: If I had to choose between watching a band I like at Budoukan or STUDIO COAST I would go to STUDIO COAST. It’s not like I’m going there to watch the staging. But if I knew that there was something I can only experience at Budoukan, then I would choose Budoukan. -I understand what you are saying. And in reality, I don’t think I’ve ever seen a show like that but I was able to watch it very naturally. There wasn’t any feeling of seeing a completely different DIR EN GREY.

K: Including those aspects, I’m able to think that it was a good show. The problem is that people compliment us so much that it was kind of weird (laughs). It kind of tickles. I get the feeling that we’re doing something wrong (laughs). We’re not very used to getting compliments (laughs). -Aside from the compliments of the press—including me (laughs)—the feedback from the fans was great as well, especially at the very end of the second night. The whole crowd singing at the moment (He is referring to when the music video of “Hageshisa to…” was first shown) was just astonishing.

K: We were all watching from the side of the stage. We were there partly because we wanted to see the reactions to the clip but depending on the situation we were ready to play another song. Of course we felt that there was nothing more to do after we ended with “VINUSHKA” but we were ready to go just in case. But when the singing reached my ears…I felt my eyes burn. And it was followed by applause. I didn’t think shows could end like this. It was a new feeling. I felt that we shouldn’t go out anymore. Usually we announce our next release or display some sort of message. Well, we actually didn’t have anything to announce (laughs). But the music clip did it all. As a result, it was good we didn’t play. I don’t know but I have a feeling that if we did end up playing, I don’t think they would ever let us play at Budoukan again (laughs).

-That was a very good decision. And more than anything, no one would have been able to feel a great reverberation.

K: Exactly. Instead of ending with the same old, we wanted to treasure that moment.

-I feel that after the two nights, “Hageshisa to…” represented an even stronger image of what will be the next stage after “UROBOROS”.

K: As a result, yes. Even though it’s a very heavy song it felt very refreshing. It may sound weird but I think it’s a song that makes you feel positive. And we didn’t even try to make it like that. It’s kind of like darkness, but it is emitting light.

-I guess you can say that it’s a song that represents Dir en grey at this point.

K: Yes. As far as what’s next after “UROBOROS”…But then again when “DOZING GREEN” was completed we didn’t even have “UROBOROS” in mind but as a result it was something that gave us a hint of what was coming next. Just like that, “Hageshisa to…” might be a prophecy.

-Does that mean the next album would be…a refreshing album? (laughs)

K: You never know (laughs). But then again, when we actually go to write the album, it becomes more and more corrupted. I don’t know if I’m allowed to say this but I have somewhat of an idea. There are many things we haven’t tried yet. It’s not the matter of the different kinds of music, but more like “what if we make this kind of thing?”

-So you haven’t necessarily found a new path, but more like you want to challenge more things?

K: Yeah. I don’t think we should think about direction. I think it’s okay if we still play around. We’ll just keep on trying new thing and when the time comes to put it all together it will come together naturally. So it might be even better to just do whatever.

-Perhaps, in a way, the end of “UROBOROS” gave Dir en grey more freedom.

K: Yes. We wanted to express ourselves as much as we could have and test our limits. That was the feeling we had for that album. I think we’ve gained more “power” after we completed that album and I think with that “power,” we’re able to do more exploring now. I think that will bring us new power. -For instance, the fans that thought “DIR EN GREY wasn’t like this” might feel that it’s normal if they listen to the next album?

K: I think so. But, of course, that wouldn’t change what we want to do and our goal wouldn’t change. I don’t think we’ll ever end up making a happy-go-lucky song (laughs).

-I would like to listen to that (laughs). Anyways, now you’re in the mindset of “we don’t know where to go but let’s just move on and try anything that come up.” Even though “UROBOROS” is over, the “chasing your own tail” sort of process is still going on. The only difference is that this time, you’re able to have more fun with it.

K: At least for now (laughs). I think we will suffer as time goes by. I already have idea where we might have the most trouble with. But even those thoughts make me feel happy.

-Basically, you’re having fun with DIR EN GREY.

K: Yeah. It’s really fun right now. That’s why this time around we were able to think that not worrying about anything would bring out a good show. We know that the band is in a really good condition so if we play as it is it’s given that we will play a good show. We had confidence there.

-Although, for over a year now, I’ve talked with each of you about “UROBOROS” but I didn’t have a single idea of how it would turn out. To be honest I thought “and even though ‘UROBOROS’ ended, DIR EN GREY’s journey of finding themselves will go on forever” (laughs). I didn’t even imagine that our talk would end on this good of a note.

K: That goes for me as well. Even though I mentioned that there are many things I want to try, it’s not really a clear image yet. But, my range of sight has definitely widened. There are many experiments I want try. I don’t know how the result will turn out, but there will be a long wait until it will be heard. No matter how good the band’s condition is, our time is slipping away. No one can stop that. But we want to always do what we want to do, what we can do.

#kaoru

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octranslations · 7 years ago

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OUROBOROS Photobook - Kyo Interview

Thanks to kzaemonn for allowing us to post this translation!

Kyo InterviewRevenge for the Osaka Castle Hall: that’s always been in my mind. From that moment my goal was to make the end “more than perfect”.

-Inside the dressing room after the January 10th show, I heard you saying “This was the best one I’ve ever done”. I agreed to those words but at the same time I was surprised.

Kyo: I rarely say those kinds of things. But that’s how I really felt. When I came off stage there was a camera rolling and I was able to smile and say “Otukaresama (It means something like thank you for the hard work)” (laughs). I think I was able to give it my all. I got a good grasp of it. There were mistakes that only I would notice here and there but I didn’t really care at all. Even if it were things that I would usually say “I did it again”, I didn’t care about it that day. It means that there were that many good things about it.

-It’s ironic. Even though the sound was very bad the first night, as a result it seems like it was a trial to prepare you for the second night.

K: That’s true. After the first night many people complemented that it was really good. But since I had an image of how it could have turned out, I just felt like “This isn’t it!”. I was frustrated that people were saying it was good to that. But after the second show, some people I know that saw both nights seemed to have noticed my feelings. -These two nights were what you would call the end of “UROBOROS” but you would never know how it would turn out right? Were you anxious or scared at all? Did you have any pressure that you had to make it a good show?

K: Well before that, it was revenge for the Osaka Castle Hall: that’s always been in my mind. When we first started from there, my throat’s condition was really bad. Of course, I prepared beforehand so that I’m able to perform at my best and I gave it my all but as a result it ended up being something that I really didn’t like. From that moment my goal was to make the end “more than perfect”. The evolution of “UROBOROS” was also important but I’ve constantly stared at the end from the beginning. To be honest, all the shows before these two nights were just there for me to grow. That’s why the first night was just regrettable. It was all so bad but I wanted to do the second night both nights.

-If you did do the second night on the first night, who knew what could have been of the second night.

K: It could have been even better (laughs). Anyways, all this time I was thinking about the two nights and I was thinking that the two nights were one show. I concentrated on that and tried to keep my condition the best. Well, of course I’m constantly doing that. I think I can say that I’m doing everything I possibly can.

-And yet, you’re betrayed at the most important parts.

K: Yeah. I wonder why. Maybe it has to do with the environment changing. But for Budoukan, I can just go there from my house. So it’s easy to prepare my condition. If it’s across the country or overseas it’s much different and it’s difficult. In that sense, Budoukan was easy to get ready for and I didn’t have to think about it too much. But I did have the feeling of “If I don’t do it here, I will regret it for the rest of my life” kind of thing. That’s why when it was over, I felt a sense of emancipation. Being able to say “Otsukaresama” to the camera was evidence that something inside of me was over. The revenge was a success, in other word I beat myself. The fans that always watch, I think, had an idea of my conditions. If those people saw the show, they would be able to understand for the most part without saying a word. I think that’s why people stayed even after the show.

-The crowd singing “Hageshisato, …” after the performance on the second night. I felt that this wouldn’t have been possible without the fans of this band. K: I was simply happy. I was watching from the edge of the stage, but that was a great sight. I felt a strong connection. Stronger than before. -You guys were able to make a strong relationship.

K: Yes. But, although I was happy, I was kind of pissed as well. I thought, “Why now?!” (laughs). “If you guys can do this now, why didn’t you do it from the beginning?!” (laughs)I know I’m repeating myself but I tackled this show as revenge from the Osaka Castle Hall Show and that was my main reason. Even before that I’ve been “singing” more. It’s kind of a weird thing to say but I shifted my emphasis onto more “singing”. Before, when we would release live recordings, I purposely chose live recordings that I didn’t sing so well on. I’ve had my own reasons but I got a lot of feedback saying “Basically you can’t perform your own songs right?” I really hated that. And I got things like “You’re just running away by stirring up the crowd.” I hated it even more when I had to explain that I CAN sing it. So, my answer to that frustration was Osaka Castle Hall. I wanted to make them shut up there. But I couldn’t and I was even more frustrated. That’s why the way Budoukan ended simply made me happy.

-The Kyo at Osaka Castle Hall and the Kyo at Budoukan. Other than the time that passed, what do you think the difference is? K: The presence of that frustration. I think it lies there. Of course, I’ve dealt with many frustrations in the past and there was something that was piling up inside me. There were times where I was able to sing overseas, out of all the show. I just thought “Why now?” (laughs). Of course there are shows like that in Japan but it never stabilizes the way I want it to. Not everything goes the way you want it to. Even if my voice is able to express myself the way I want to, my mind isn’t up to the task. A “scripted show” is easy to do though. And, as a result, everything happened to go well and that just happened to happen at Budoukan.

End of Part 1

-But, I think the result of Budoukan didn’t just happen by coincidence or luck. If you think of it that way, the title “UROBOROS –with the proof in the name of living…” symbolizes that idea. This is the translation of the lyrics (ikiru toiu na no Akashi wo) in “Ware, Yamitote…” right? Proof of existence. Not just the show, but I came to realize that this was the theme for “UROBOROS”.

K: Yes. When the album was finished, I thought “this is us”. Of course I think that way for every album we complete, but this one had the strongest feeling. I just think you have to be constantly looking for yourself. A new self. You have to keep finding yourself. Basically I tend to deny my past (laughs), so no matter how great of a song we write, I can only look at it as something finished.

-So you are already denying “UROBOROS” and Budoukan?

K: No, I don’t want to deny that yet (laughs). But, I want to work on the next project.

-Just as the lyrics in “Ware, yamitote…”, proving your existence is “Tomorrow’s requirement” (Asu no jouken)?

K: Yeah. If I don’t continue that, there’s no reason of my existence. Something that we can be satisfied with…Of course the bars are raised every time we write something but that’s the fun part for me. Even though I say I deny the past, it’s not like I deny every single aspect of it. It’s more of a “I was still young” way of looking at it. I mean it’s never good to say “I was the best back then” right? I don’t want to be a person that’s so attached to their past. I just want to go forward. At least for now, I’ve never felt my limits being tested this far.

-But from now on, the two nights at Budoukan will be the “standard”. Even slightly falling below will automatically mean you guys “slowed down”.

K: I’ve thought the same. But I’m not worried about that. I’m sure some people will think they have to surpass it or that they are obligated to it as a job, but for me, and I know this isn’t the best way to put it, it’s like a “game”. I’m the kind of person that needs to be interested in what I’m doing; otherwise I can never give it my best. For a long time. So I think this still has a lot of potential for me to pursue in. And, if we continue with Budoukan as a standard, Dir en grey and the fans can develop a lot in many aspects.

-I see. I know the topic is going to change but I want to ask about the images used for Budoukan. There were many that were very eye catching. For example, some were strictly designed to express “pain” but I’m sure some people only look at it as simply grotesque.

K: Probably. For example the “Hageshisa” music video. To me that’s actually “catchy and cute” (laughs). I don’t care if people like it from around the world or if it can be aired on TV or not. I see it as a piece of work, not a tool for promotion. As opposed to that, I think the images used in concerts are more personal; whether it’s focused on the mental aspect or the realistic expressions. So I’m sure there are people that look at those images and feel uncomfortable. But even if your uncomfortable or not, to us it links with the song and there’s the truth in it that we want to show. And I say link like it’s a simple thing but there are numerous ways that fits the song. And “fits the song” isn’t as easy as it sounds either. I want these works to show a different perspective than when you are listening to the CD at home.

-But, if the images are too graphic, people tend to think more than they are supposed to be. For example I don’t think it would be surprising that some people might take “VINUSHKA” as a song about war.

K: Yes. I understand that as well. I presume to say that most people with the right mind will understand. The people that have the right mind to understand will understand. I think it’s perfectly fine if someone can gain something from a prejudice. And for the people that understand the something is bound to be misunderstood in a certain way… that just means that they know it doesn’t mean the way it could be misunderstood. For me I’m more afraid of people wanting things to be more simplified rather than something that could be easily misunderstood. After all it’s impossible for everyone to have the exact same ideas as you do. I think its good enough for someone to slightly understand. It goes the same for lyrics. I don’t want to dictate someone to understand something. I don’t want to scold anyone and I don’t think rock is that kind of thing. I’ll just attack it my own way and if there are people that want to come along, that’s totally fine. Every person has an individual mind and obviously everyone thinks differently. That’s why “becoming one” is something difficult.

-To become one. It doesn’t necessarily mean that each individual is on the same page. In other word, DIR EN GREY wants each individual to become one correct?

K: Yes. I’m not saying to ask for unity of a number of people.

-Now the topic of “UROBOROS” as a piece of work. As of now, what kind of meaning does this album hold to DIR EN GREY?

K: Something really important, DIR EN GREY’s…”core” I guess? I don’t know how to say it but the image of “us” is more clear within ourselves. We were able to understand ourselves in a deeper aspect and we were able to successfully prove ourselves as DIR EN GREY.

-The proof is more towards yourselves rather than the fans?

K: Yeah. A proof for us to find out who we are. I’m sure all of us thought that way since we released “UROBOROS”. After all of that, I’m excited to find out what kind of new things are going to be brought to this world and the first step was “Hageshisa…”. I realized that was the result of being able to digest “UROBOROS”.

-As of now, do you have a hunch about what the next album will be like?

K: It’s not like I can tell what kind of songs are going to come up but…I think it will be something more mysterious. I think we can all agree that we are craving something we’ve “never heard before”. If that feeling takes form, I’m sure it will become mysterious. But, no matter what path DIR EN GREY chooses to take, DIR EN GREY will always be DIR EN GREY. If we only leave to good parts and take in many new things, open the lid and we’re still DIR EN GREY. And it will never be “What? They could only go this far?”. I think being able to constantly shape those kinds of things is very idealistic.

-“THE MARROW OF A BONE” was something “the DIR EN GREY at the time” personified as opposed to “UROBOROS” had 2008’s ideals projected, despite the past. The things you guys are about to shape is the ideals that lay beyond this point?

K: Yes. I think so. Never to recklessly deny the past and present.

#kyo

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octranslations · 7 years ago

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OUROBOROS Photobook - Toshiya Interview

Thanks to kzaemonn for allowing us to post this translation!

Toshiya InterviewI feel like I still don’t have a new compass in my hands. So of course I feel a bit insecure. But, it’s not completely dark. There’s no way we can’t go any further when we came all the way here.

-Be honest with me, how did you feel after the two days of Budoukan?

T: Actually, when the video clip was being played we were standing at the edge of the stage ready to go considering that there may be another encore. And I kind of wanted to play more (laughs). But when it ended beautifully, I was a little concerned thinking “Is it really over?” We couldn’t tell instantly. When it was all over, of course I was tired but, I felt so completed, like I completely murdered it. It felt really good. Listening to the whole audience sing also felt really good. I didn’t think it would turn out like that. We didn’t even tell them to do that. I think we’ve been underestimating the fans. But then again I thought “You guys can do it if you try!” (laughs). But honestly, I was really touched!

-You said you felt like you “murdered” it, which is a very graphic explanation (laughs), but when you say that do you mean you’ve murdered a monster by the name of “UROBOROS”?

T: Yeah, that might have not been the best way to put it (laughs). We’ve been explaining that “UROBOROS” was “something that linked our past and future”. It seemed like the chain that was holding it together just snapped at that moment.

-Like a chain that was holding you down just loosened up?

T: Well…it’s kind of difficult to explain it with words…it just seemed like something popped. Ever since we wrote that album I always had the mindset of trying to take in and digest many things and try to build something that we had in mind but I feel like I’ve been set free from that unexplainable dilemma and I’m stand at a place where words can’t describe. I feel like things that seemed unclear to me cleared up after Budoukan. Up until now, we’ve been saying a lot of stuff about how our perspective is but that was still something that we couldn’t explain very well. But at Budoukan, I feel like we were able to emulate it really close to the image we had. So I felt like I’ve gained so much out of that. After it ended, I looked at all the reviews that the fans fill out and I noticed no one really focused on the small things. There were a lot more of “It was so amazing!” And I think that means that people were able to see it how we saw it.

-It was the same for the Osaka Castle Hall show in the aspect of trying to show the perspective right? When you think about it now it was an adventure. Do you think it could have even been possible to do what you did at Budoukan at Osaka Castle Hall?

T: No. And if you put it that way, yes I think it was sort of an adventure. But I think we were able to go to Budoukan because we had that experience. Because we thought we weren’t that good then, because we thought we should have done more things here and there we were able to draw our ideals towards Budoukan. So I think it was a inevitable fail (laughs). The funny thing is, we didn’t even think that we could do something perfect at that stage. But of course there were images of what we considered to be a success.

-So in a sense, you guys just wanted to build up the outer shell of the image of “UROBOROS”?

T: Basically, yes. It looks like a huge castle but when you look at it closely it’s actually only a board (laughs). But we knew from that beginning that we would work on the inside and gradually complete it. We were finally able to sit down and think “What should we do next to move on?” after we’ve done Osaka Castle Hall and a bunch of tours. And this is a personal opinion but I had a lot of fun. The road from making “UROBOROS” to Budoukan. And when I say fun I mean I was able to have an adventure.

-So you didn’t really have the mindset that you “had to do it” (as in it’s his job)?

T: Yeah. Every tour I had an idea of what I wanted to do and I was able to constantly try things out. Whether it was my playing, my sound or how I showed myself, I was able to try many new things. So I guess in a way the tours we did for “UROBOROS” were very…experimental.

-Simply put, there are a lot of songs that are troubling. For example, even if one found an answer, one wouldn’t be able to apply it to every “UROBOROS” song. Each song demands something different. Didn’t it feel like you were wearing very heavy weights this whole time you were touring?

T: Yes. But that was the fun part. It was testing how far we can go wearing a manacle. That was required for “UROBOROS”. I think freedom only exist because there are limitations. Doing whatever you want in a place where there isn’t any limitations, to me, is not freedom.

-So you’re saying being selfish and being free is different?

T: Yes. I think when people are tied down to restriction people are more like to desire what they would want to do. When they are restricted to manacles or cuffs they are then able to realize what kind of freedom they want. So back to us, we were locked in a cage called “UROBOROS” and then we question ourselves: “How can we have fun in here?” I thought like that. And the freedom I desired changed as we played shows day by day and that changed my thought patterns. But I think I was constantly thinking to myself “How would I approach this under this kind of circumstance,” whether that was about my playing style or my way of expressing things.

-If you looks at each member the staging is completely different. But as diverse as it is, it blends very well.

T: Well, we’re a band so…I don’t know how to put it. I guess it’s because we’ve through so much together. I was really helped by the other members trying to push my back along the way and I want to be a person that will be able to do the same for them. I think we have to continue being influences to each other.

End of Part 1

-For example you guys don’t sit down and tell each other “Since this time we made this kind of album, we should all be like this”?

T: No no. That’s why everyone should wear what they want and act the way they want. We each have our own intentions and because it is the five of us, we make up DIR EN GREY.

-I think outfits would be a good example to talk about. For instance do you ever think “Oh, he’s going to be wearing that so…” ?

T: No. We don’t ever think about the other members (laughs). Well at least I don’t. We’ll never wear similar things anyway.

-Saying “never” is a bit unsafe isn’t it?

T: Maybe, but I don’t really care. Well, I don’t think the five of us would wear skirts and even if that were to happen I think I would be the first one to stop wearing them (laughs). Every year my thoughts that I should do what I can only accomplish get stronger, including things like fashion. Of course as a band there are things that I shouldn’t do but within those restrictions, I feel free. I just do what I feel like doing at that exact moment.

-Things you can do and things you want to do. You probably had more things you wanted to do in the past?

T: Probably. But…to be honest, as I age I think the things I imagine become more and more realistic. Because I’m learning more I feel that the range of what I’m able to imagine is getting narrower. Well, I guess that means that I’m able to understand things before I even imagine it. But as a result , I tend to say “oh, I can’t do that,” before I even try. I don’t think that’s good. If I think that way too much I don’t think I’ll be able to think of new things. I feel like my ideas are weakening. Of course I’ve tried not be draw myself to early conclusions. Back in the days when I used to put make up all over my face, I think my head was full of imaginations. I was trying so hard to bring out the images to the real world. But now, I’ve become more sophisticated. Yes, even I have become sophisticated (laughs). Someone that has been doing something that flashy has become so normal as he aged…that’s what I feel like.

-So you feel like you can’t bring yourself to your full potential?

T: Yes. And it’s fine if it just ends there but I thought “That would probably affect the songs and phrases I write”. If I think about it that way…I guess I was trying to interfere with the infinite loop by the name of “UROBOROS” with my own hands. Just like that, I had a lot of things on my mind. That’s why I think this year was so fun. And thankfully, we’re able to play shows at many different places and we’re able to watch bands that we’ve like for a long time. Of course it’s inspiring but at the same time my thought that “we have to go somewhere else” gets stronger. I don’t think it should end as “it’s an honor” or “I’m so happy”.

-An example would be Duff McKagan. A while ago, you guys happened to stay in the same hotel and you drank with him. At the time your honest feelings were”I’m so happy to meet you”. But fast forward a few years to last year’s Download and a couple festivals in Brazil. You guys shared stages but his appearance was a lot earlier than you guys.

T: Yes. And of course I didn’t think we were “better” than him. But there is no doubt that we were standing on the same soil. It’s like if we stretch out our arms he would be in our radius. When I noticed that I thought if I thought like how I used to I would be done. When people that you used to look up to are standing where you are, that’s when you have to realize that you have to step it up.

-I think the way you approach things overseas is like facing a crossroad, choosing a path.

T: Yes. Not too long ago I remember thinking “I’m so glad I’m playing at this festival” and I thought if I could just look into other perspectives. Of course, I still think as of now that it is a great honor to be playing at these kinds of places. But it’s a little different. We have to fight. We have to take on so many rivals. Even if it’s completely foreign soil, we have to approach it as an “experiment”. As a result, I started thinking that there isn’t much time left after all.

-The time you’re left with isn’t unlimited?

T: Yeah. I can’t afford to approach things in this mindset anymore. I have to be considering that all the time. I have to feel endangered. Otherwise I don’t think anything will be left no matter what I do. It’ll just end with “That was fun”. That’s just a “memory from the journey”. To be honest, I’m in a hurry. Even though there’s a limit to time, I still have many things I want to do. I know this band still has the potential of becoming more interesting and I’m having fun with it.

-In a way you guys are your own producers, playing around with Dir en grey, in a good way.

T: Yes. That’s why we all think more about how to present things as a band rather than how each of us looks in the band. I wish we had another set of eyes so we can see ourselves in the third person perspective. But obviously that’s impossible.

-Say you were able to do that, how do you think you would feel?

T: I think we’re the coolest band right now (laughs). Even comparing with other bands, I think this band has been doing the coolest things, or I should say I can be prideful about it. That’s because we meant to be that way. Of course “the grass is greener on the other side” but I don’t want to think that that’s something we can never accomplish. I just think that “If we can do it, we’ll do it better”. Maybe I shouldn’t praise ourselves too much (laughs). But don’t forget that at the same time we feel endangered. But then, somewhere inside of us, we vaguely think that we know we can do it. That’s not like telepathy or anything. It’s just that we all have the mindset that if we give up before we even start, we’ll never be able to accomplish things that we would be able to.

-So as of now, do you see where you guys are going to be?

T: Well, it’s not like we have a blueprint of our next album and I feel like I don’t have a new compass to guide me yet. “Hageshisa…” may be one step after overcoming “UROBOROS” and we don’t think that’s all of it. That’s why we’re worried, no doubt. But we’re always worried about thing and hope is following right being it. We’ve come this far, there’s no way we can’t go further. It’s not like we’re not worried at all but it’s not pitch black.

-Why do you think you see it that way?

T: That’s got to be because I’m not alone. I think that’s the reason: because we’ve overcome so much together. And it’s not just us five. We’ve been supported by the staff and more importantly our fans. I think we’ve completely stripped what we’ve fought with “UROBOROS” and started over completely naked, trying to take on something new. That’s why fear and discomfort is a normal thing. But I’m not alone. If I were alone though, I would have no idea what I would do.

#toshiya

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octranslations · 7 years ago

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OUROBOROS Photobook - Die Interview

Thanks to Japistachoco and the great people over at Diru_Tabloids for allowing us to post this translation!

Die InterviewFrankly speaking, there are still songs that seem to be in the process of digestion. It’s not like everything will settle down with time and the number (of shows). In that sense, I think the album UROBOROS is itself strong.

- As Budokan’s two days are over, were you able to obtain a true feeling of having reached completion with everything concerning UROBOROS?

Die: Well, you could say that the flow form beginning to end is over. It’s that ever since the start we’ve been heading there to meet our aim. Truth be told, when it was decided on Osaka-jo hall it was then gradually decided on developing in a way that would sort of finish up the great flow in Budokan. So the result is that we as ourselves have been doing things while constantly gazing at that (Budokan); this entire past year, constantly. Personally we were like that, but the scale of the lighting and the images in the production were like that too. I think it turned into that sort of thing.

- The album was released in November 2008. Actually, you made the release a little fast so the lives piled up to a certain degree and not only did you deal with production but you had to also face Osaka-jo hall, right? However as far as the result goes it became the starting point and you did a live house tour in England from the start of the year. That had to be an irregular development.

Die: But I think there was great value in visiting different live houses. It’s weird to say it like this, but that was because essentially it’s an album that can’t really be played in live houses. That goes for the way of producing sound too. As we challenged that, the songs were looked upon from a different angle and as the space itself was narrow, you could really feel what you’d call a groove. In the long run, I don’t really know if that sort of process was needed or not, but thinking about it now it was good that we got to experience circumstances that were this different.

- So in short, it turned into a chance to concentrate on where the spirits of the songs are and mend that.

Die: In reality, while being conscious of that, we took on the tour. Like it’s different from the domestic tours, it’s touring abroad. We sort of cornered our own selves in a place that’s like “we can only do it in these particular circumstances”. There’s a limit as to being able to reproduce (the sound) too and we were really looking forward to it. For example, if it’s a place we’re used to like STUDIO COAST it’s easy to imagine, but there was also “how would this turn out to be if we performed it in a live house?”

- If it were a band that can only play in live houses, I guess it probably wouldn’t be very pragmatic to make an album such as UROBOROS.

Die: Surely it isn’t something easy to consider. I wouldn’t say that you can’t do it, but it’d be impossible to have a slender sound.

- By the way, Kyo-san admitted to having kept the desire for revenge over the Osaka-jo hall performance during this entire year. But would this be because at the time of that performance there was irritation/impatience to fully express UROBOROS’s outlook?

Die: Yeah. Or better yet, we realized in advance that such a sensation had remained. So, we couldn’t be at a 100% percent. In any case, at that time, at that point we could only put out our own selves. From there change gradually stepped in and we thought that was something natural/reasonable/usual. Well, there was naturally also (the thought of) “we have to do it more firmly”, that it’s not enough doing it like something ordinary. As a result, it was pretty firm, but I think we did Osaka-jo hall with a lot of tension. I think it was only there, only that one time that it turned into something tasteless. After that, because we passed on to the live house tour, each song also passed on to change its look. It’s because there were stuff like “From now on, shouldn’t we make this song more like that?”. Such feelings were born and that was with each song.

- Was it also that the implication of the album itself changed during the tour?

Die: I wonder. You don’t really think about such things as you are in the middle touring. First of all, when a tour starts you no longer listen to the album, do you? (laugh) If I hear it when I’m already getting used to the atmosphere of lives, incompatibility is conversely born; the way the sound rings, the way you feel it. Because, after all, the biggest thing is the sensation you get from playing. However to be honest, there are still songs that appear to be in the process of digestion; still songs that appear difficult. Maybe it might be wrong to say that everything is digested the same way. Though, such a thing is not limiting the songs of UROBOROS.

- You mean that everything can be digested the same way as time passes and experience piles up?

Die: Yeah. Or rather, we’re still integrating this within our bodies, there’s still need for better concentration. Time and the frequency (of shows) won’t bring the solution to everything. Every time, if the place is different the way (songs) are heard will too be different. Within such a meaning, it is pretty tuff, isn’t it - the album itself, all the songs are tuff. That’s where it’s different from the other albums up until now. Or better yet, no matter how much experience piles up, we won’t be able to get there with just a sense of “Let’s go there!”. I want to go at it with a feeling of “grind”, but in reality if you do it like this the outlook will change. While respecting this, when I’m still going at it with a “grind”, it’s like I can actually get there. This is also one of the objectives from now on.

- Isn’t there a difficulty of the personal principle not matching the structure of the composition?

Die: I use my head. You really have to keep your cool/calm. This isn’t bad, but with such songs too, things turn a purer white and a feeling of wanting to play has sprouted. This is how I’ve been doing UROBOROS all this time. That’s because there’s also a part of me that feels a little too stiff. Such things are hard to put into words, but I think it’d be good to have this sensation reflect song-making from now on too. The way I used to sort of dash through lives in the past, I wonder if this has become somehow dear to me; being wild in the good way, being loose. Everybody was concentrated on UROBOROS, if you didn’t properly engage, it wouldn’t be completed. In reality it was a feeling of steadily looking at the same thing and then doing it. We faced that and now it’s no longer the head, but instead now we probably instinctively desire a feeling of our bodies being able to go along with a “grind”.

- It’s a weird way of saying it, but is it like if now UROBOROS is destroyed, it’s ok?

Die: Yes. Because it’s something that’s already been completed. We’ve already detached ourselves from this album so it’s ok if we ourselves break it. Or rather, after we do so, the only problem would be how we could reach what was broken. When we do lives in the future, of course there’d also be songs from UROBOROS, but wouldn’t the one “tie” called UROBOROS have essentially died? There’s a different, natural feeling now too, which is different from that outlook we’ve been conscious of while doing things this past year.

- I think the reason you can say this with such certainty now is because Budokan’s two days are over.

Die: Hmm. To be honest, the first day......I myself was too miserable. All in all, I didn’t get into the songs and it was like performing was a mere chore, something inevitable. There was also a problem with the sound. Not only was I not able to produce a good enough sound, but when the actual thing started the sound itself was very different. Of course that was immediately treated, but after that again it turned into something odd. Because it was that kind of sound, until the very end, it was a performance where I put all of my strength solely into trying to save the songs from crumbling. We had played in so many different places, why was it that that day, when I stepped on stage, I thought I couldn’t do it. There was even times when I couldn’t completely hear the sound and because of that I would miss my cue and all. In such circumstances, I fail at once. The spirits are down.

- Of all things - to be surrounded by staff who you trust, to be on a home stage and still be cornered by such circumstances. I think it’d be natural to be upset inside.

Die: Really, after it was over, I was miserable and ready to cry (laugh)

- After the show that day, backstage there was an air of “I don’t want to remain here” (laugh). Well, it’s not meant to be a follow up, but one shouldn’t judge the good and bad points of the live based only on that, in reality that day there was also a great sense of urgency transmitted from the stage. However, I got the feeling that if you were to see the stage on the following day, you’d think “Ah, so this is how it was originally supposed to be”.

Die: I guess it was like that. Or rather it was one live for 2 days. Because of that if the first day all had been in order, maybe the second day wouldn’t have turned out so different. When the first day was over, the mood backstage wasn’t cheerful and there was nothing but a feeling of “Tomorrow, we shouldn’t do it”. It was a little shocking; we were told by an authorized person that “Maybe the conditions for musical performances in Budokan aren’t that good. This happens often with foreign artists too.”. Naturally, those were words of consolation, but does it really matter how it is for others? We were at the place which we’ve been gazing at and we hadn’t done (the performance) as we should have. That was regretful and there was no apologizing to the people who had until then sent out energy for us. Although.....Quite honestly, if it were a me from a little earlier that was performing that day, I’d have become even more desperate and would’ve probably played a conceited guitar. Maybe the guitar itself might have come off of my shoulder (laugh). I mean it’s like I somehow endured it there. To be correct, it was a feeling of “It’s no good if I give up”. The guitar was like that too, but it was actually the “feelings” part (laugh). So, I managed to hold onto the songs.

- It was that sort of first day and that’s exactly why the second day such a live came into existence, isn’t it?

Die: After the first day, once I stomached it, my feelings totally changed. (laugh). It’s because I felt that after Osaka-jo hall this was the heaviest live. So I guess the staff too must’ve felt the same way. It’s like the second day all feelings were heading the same place. It was that kind of “pure feeling”. With each song you felt the response, like everybody’s “spirit/energy” followed up. Not only that, but it had no stopping it too. While still tense from the first day, I felt I could get into the songs perfectly. I didn’t use my head to think it over and I could honestly get into it.

- A drama without a plot. To be correct, it was that kind of feeling wasn’t it?

Die: It was a completely different live, wasn’t it? Somehow, it was a good “first day”. The fact we did that live, it sort of once more gave us self-confidence. There was also things like the reverberation sort of feeling we’d had until then, but more then anything it was a feeling of completion. You could truly feel that all the “spirits/energy” is gathered in one single place. It’s weird for me to say to myself “it was a good life”, but it was like apart from this, there was nothing to say. Even the person who had consoled us after the first day was over, when he saw the second day, he said that the degree of satisfaction was totally different (laugh). That reminds me of an interesting/funny story. Whenever the sound of my guitar changes as I’m on stage, I always have everything done by Kuroo, the guitar tech. However, on the second day when there were supposed to be no mistakes at all, he forgot to step in on one single place. It wasn’t a really big deal, but there was a sort of a “Huh?”. So, after the show when I questioned the person himself, he told me “I got into it too much. There’s no excuse”. Furthermore, after that I received an e-mail and in it there were such warm things written like “I was so immensely happy to be in that place. I keep thinking about how amazing Dir en grey is and how the music is so incredible”. That made me really happy. There were also things like “Budokan is over and at last it’s like the year dawns” written there. It’s not just Kuroo-san - I think that perhaps everybody within the staff feels this way.

- Right after such two days were over, wasn’t there also a loss of spirits in the good way? (as in seeing something great come to a close)

Die: Yeah. But in reality I though it’d probably happen that way, because I though it’s a period for being in such a mood. Or rather the feeling loosens up there and we again turn to the next thing on a flat condition.

- And are you looking at the future now?

Die: No, not at all (laugh). However, when we start making songs and touring, something will certainly come up. Every time it’s like this. As we do that, we keep searching for ourselves. Each one of us makes it clear for himself what the next goal is and everything. Because it’s something that comes by nature, it’s like the direction we should progress in is again becoming clear. It’s like feeling what you’re groping for.

- You mean that even birth pains are pleasant?

Die: That’s a must. Or should I say that now I’m excited. Now it’s like a gradation of wanting to once more get there. Though in reality, when you’re there there’s also the suffering of struggle (laugh).

- It’s that while not clearly seeing the “next”, you don’t feel tied up in concern, right? That way there’s none of “I’m not seeing anything now, so what do I do?”

Die: It definitely won’t turn into such a thing. Why? That’s probably simply because it all came from the experience up until now. However, lives are probably the biggest thing. I think that probably the best thing is that we can do lives in different places. Until now we’ve faced many different situations, but because it’s like again we’re doing something here, we can also turn to many other different places too. I guess something like that is big. If you do this once, you go back to a flat condition and so whatever we want to express comes out. In reality, “Hageshisa to, kono mune no naka de karamitsuita shakunetsu no yami” also came from such a place, like we can’t do this with anticipation/excitement, like doing a band has no meaning. We don’t know what sort of thing it’d turn into. This year we tested different things and we did it like this; turning over to the new album.

- Since you already have a blueprint for what’s next, when you to it won’t you want to get your pace in order?

Die: Yeah. Surely a new challenge is needed there. If I consider it’ll be something that’ll erase UROBOROS, then the time, the challenge – I think new force is essential. However, having completed UROBOROS, I think our span of freedom has widened. I guess there’s no mistaking that. We don’t know what sort of thing it’d turn into.

#die

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octranslations · 7 years ago

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Feel So Muse Blog 1/25/2011

Left: Toshiya (B) -san Right: Shinya (Dr.) -san

Uwaaa, my face looks weird! (laughs)

This is the first time they would appear in the show but, I's really been a while since I've met these 2 people. I think that we've known each other for more than 10 years? That's why, I call these 2 people "kun" (sweatdop). But since it's their first time in the show, maybe it's best if I use "san"? But even so I wanted to give a relaxed atmosphere of these 2 people. So this time I will continue using "kun". Forgive me.

But then again, but why did they get the DIR members who don't say much on radio. I know this but I want them to talk a lot. By the way, "Mamiya" is Do-S Gradually, I poked at both of them.

But, right after my song introduction, there was Shinya who commented (laughs). Maybe, I'm really a Do-S~?

When I tried telling Toshiya-san that it would be nice to have a talk like a cover interview when I'm presenting the song But it seems that the cover [interviews] are talks that take a lot of time (In general, a lot of interviews take an hour) He tried excusing that there are also times when they don't take the exact words that we say and right now we are talking in an atmosphere that's not going to change with a normal talk (laughs). Well, too much time has passed by the time of the radio interview so always they say, "I don't fully remember the REC period". They probably put in that much effort.

While laughing about a question from a fan, "I would like for you guys to talk about both of your good points" "Yuck! [Gross!]", sharp/drastic! They are "Too Shy".

But even so, Shinya-san who earnestly remembers is straightforward (laughs) Toshiya-san kept on laughing and talked about himself.

Regarding "LOTUS", seems like the flow of the sound is, the image gradually changed from the concept at the beginning of spring 2010 when they began recording From what Toshiya-san said, As for the main core, the images of the guitars of Die-san and Kaoru-san were strongly reflected. But, just having the guitars play that low line, the rhythm group sound had to have an unwavering core or else it would crumble So there was some trial and error for the sound of these 2 people this time.

Also, they said that in "Warushawa no Gensou" that they performed in the Endo Michiro THE STALIN tribute, since they had a challenge of breaking apart the original song in an interesting way that's why they have this current sound.

Well, this time, regarding what should people listen most to this single is "3D feel [depth]!" (laughs) So please, even with a headphone, enjoy fully enjoy that.

Translator's Notes: The DJ is referring to herself as a "do-S" meaning she is an aggressive person as compared to a "do-M" meaning that you are a passive person

Original text http://feel.fmfuji.co.jp/?p=4288

#shinya #toshiya

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octranslations · 7 years ago

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Meet The Zemeckises (Kyo's Characters)

Translation by: kyotaku

Penyu

He is called “Malicious-chan” in Zemeckis House, has a gentle personality. He is 90cm height and his small body is wrapped in white cloth. Sometimes he likes playing pranks, but his pranks are always revealed as he cannot hide his laugh. He likes his favourite chocolate parfait to the point of drooling, he loves sweet things. In the pocket of his clothes there are always chocolates or sweets.

Jodoro

Family head of Zemeckises, father of Penyu. He is hiding his body behind a huge face mask which is over 2m, he is a part of family, however his figure is hard to spot in the house.

Majer

The mother of Zemeckises family, her lower body has a shape of human body. In Zemeckises house she is called “Mama”. She is wearing white cloth and school uniform skirt and red shoes, she is carrying 3 types of knives in her stomach. As for her hobby, she hunts humans in deep forest every night. Her expression is not changing much, when her eyes are wide with anger everyone fears her so much they cannot move.

Pirquet and Padloquet

Twin brothers of Penyu. The bigger one is older brother, Pirquet, the one with two horns is younger, Padloquet. They are always together, both love mischief. They especially like to meddle with Penyu, every time they are intimidated by Mama. They move by floating. They enjoy to take out Penyu’s plug by skilfully using long tentacles.

Raimi

In the house of Zemeckises she is called “Inugami-chan”, she is Penyu’s little sister. Raimi is very reliable person and she loves Penyu, she always tags along [where he goes]. Her duty is also to quickly replace Panyu’s taken out plug by twin brothers.

Romero

He is a ruffian bat, who is nasty to Penyu and makes a mess at Zemeckises house. His whole body is hairy all over, while flying freely in the sky he’s thinking only about how to annoy Penyu or house of Zemeckises. It is unknown where he lives or if he has a family.

#the zemeckises

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octranslations · 7 years ago

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Dir en grey IN SITU - TABULA RASA DVD Translation

By DirengreyTranslation

02:15

-When your making a song, how do you normally start?

Kaoru; Well by playing the guitar, just kinda playing around, if something catches my interest then i start from that.

Die: From there, everyone listens together then decides what song its going to be, then we’ll add our own phrases, or Shinya adds his own patterns etc like the guitar will be in this approach..

Shinya; Firstly I listen to the first impression of the song, then I create the drumming that I’m inspired to make from that, then its kinda back and forth.

Toshiya: While making a song sometimes the framework changes, there’s various patterns. About the way of the completion of it.. we each maybe have our own.. what would you say.. images. But until there there is nothing like a realized completed form.

Die: If I put it into to words, in there, our thinking all collects so there’s like too many directions mixing together. But like that we’d be unable to do anything.Kaoru: to an extent_______?I’ll say something like “its this kinda feeling” or another member will say something like that, then from there it kinda changes, and we can see where its going. That happens sometimes.Die: So each member will take that, then change their approach, kinda turn it over and turn it overKyo: Even if I listen to the song and think uhh its this kinda song, they’ll change the tempo etc and the image of the song will change.( _____?) so I’ll just think “hmm that part’s interesting”. Its okay. If I enter into song making from the pre production stage then its all a waste. Even though they’ve finished the song, they may have have to redo the tempo.Shinya: If I think i wonder if this is the A melody Kyo will come and read the A melody as a different part, then I make that the A melody.Kyo: The person who comes forward with the idea for the song first has their opinion as the main, if they go too off track, then well correct them butToshiya: In the beginning,_________? for my part, I’ll choose the part that had the best first impressionKaoru: Sometimes I think , well I’ve made so its okay like that, but recently I’ve been more like I should place more importance on that, and thinking like does it sounds like a phrase which is like “he has thought about it”. I like that kinda thing but in what this band plays there’s parts that aren’t like that like the first recording, I want to put importance on those parts too1013.05.15 shinkiba studio coast

13:13Kyo: Vocalists have to be seen on stage, have to talk on stage, ________?, that’s old , so i thought to reversely, hide myself, just express myself with my shadow, then I enjoy seeing how i want to perform? Its not like i think in my head “I want it to go like this so ill do this” when i stand there and do it am i giving 100 percent?What ??ould i call it… hmm.. intuition? I have self confidence in that. I try it and then watch a video of it and think “of course, i did it” “of course, its interesting” I could express one more thing i wanted to._____________? so i just gradually do that.

Toshiya: I get nervous before concerts, i wouldn’t want to not get nervous before them. Standing on the stage and performing i don’t want it to become just like an everyday thing, I don’t want to make it normal. I want it to be something special. I want it to be like a dream.

(we have to think about that if hes still bad tomorrow he may have to go to hospital well, well let’s keep an eye on the condition of his throat today and see if there’s anything strange (something about if it hurts too bad for him to swallow anything?????????????????

15:21 Written on screen

“Yesterday Kyo took to the stage despite suffering from tonsillitis””The other members are increasingly worried about Kyo, whose fever isn’t coming down at all.”

”The other members held a rehearsal without Kyo.”

Kyo?(I think he says something about eating yoghurt and his throat hurting too much for something else?”)

18:44 (written on screen)

"Right after this performance, Kyo was rushed to hospital"Kaoru: At Studio coast, It was like we have no choice but to do it. Rather than thinking is he okay? it was more like, well its tough but lets work hard. There was a lot of that feeling. We didn’t sort of express a worried atmosphere.

Die: I was thinking that next time it could be another member. What if it wasn’t Kyo, but another member, they just have to do it. Its not that Kyo would get better. It’s the part of us that’s like “we’re prepared for war”, we’re always ready."5.20 in the studio"

"A rehearsal was held for the 5.24 Shibuya public hall live"(I can’t really hear this next part properly so its not all that they say><)Guy: Kyo feels like he wants to do it but we still don’t know if he can

Kaoru: If we can’t do it?Toshiya: I don’t want him to do it if its gonna be dangerous.

Kaoru: So we don’t need to over do it?

Guy: We wont tell you “You definitely have to do it”. You guys need to think about it yourselves.Toshiya: I understand his feels, of wanting to do it, wasn’t this a rehearsal to calm our worries? ___________?

Toshiya: It could happen to any of us, not just Kyo. With that thought we thought what should we do? as much as possible we want to think about what course we can take so that we can do it. And not just doing it, we want to do our best.The bands motivation, and the own persons motivation is also important, so if those all go together then we’ll do it.

Shinya: Its something he’d dealt with for 10 something years… so if it his condition is bad I think he should take a break.22:55

“Kyo, whose condition has recovered appears at the scene”

?????

Kyo:?The doctor said i had cured? but i still felt bad? (laughs) tours are often cancelled or postponed due to throat issues. It’s not that my body is too weak, its just overuse. So repeating that over again, it would have been okay to postpone or cancel the tour but I really hated the thought of “again!!??” Normally I don’t feel like that. The other members have memories of that place so they told me not to over do it, but actually I felt even more than normal that i wanted to perform. It would be okay if i could put out 100 percent of my current self. I didn’t think at all about what songs to sing, I just sung what had already been decided. One of the songs that came up was Jealous, probably because when its come up in the past I’ve done it. If I had a choice I wouldn’t have included it, since I haven’t been able to rehearse, and being in my current state, I’m the main in that song aren’t I? Its just me singing.. its too much. Its like um, it’s not normal to go on stage without having practiced it at all

Kaoru: Until the end of coast, that song hadn’t been included. 15 years ago at Shibuya hall we played it in an encore, though that was a different version, with the whole band, not the acapella version. Then while thinking wonder how it would go, wonder if we could do it, I tried putting it out there. Well it was up to Kyo whether to do it or not, but he didn’t say anything so i thought, he feels like doing it and his feelings are forward facing, for the band __________?Kyo: It had been such a long time since I’d performed it, so I didn’t want to.30:52 Written on screen

"The tour in Europe started from Germany"31:37

"A sound check took place at the studio"

34:24Die:(in tour bus) This is only used in Europe, the ceiling’s so low

Camera guy: It is low isn’t it.

"During the tour everyone lives in this tour bus"Camera guy: The beds are that small?. So small!

Die: They’re so small right!Camera guy: So small!

Die: (outside the tour bus) When it’s been one month it’s a bit…Camera guy: So the longest you stay in the bus is 1 month?Die: Well, around 3 weeks. ______?fans try and climb it (the tour bus) that’s why there’s all these marks on it and there’s all this dirt. (cracks up laughing) We’re constantly using it throughout the tour so if it isn’t constantly cleaned it gets really dirty! Insects die on it and stuff.

Camera guy: This is the lounge. Is the bus the same every time you tour Europe?

Die: In Europe it’s normally this kinda of bus. Sometimes a newer one. This part is nicer? ____________?36:55

Die: This place is coolCamera man: Yeah it is.

Die: It’s different every time, the chairs.. and the sounds is,. closed voice rings out??______________? Here, its not that we’re cutting corners we’re just doing it more naturally… but Germany was the first place in Europe we ever played, in 2005, so it’s… how should I put it… like returning to our origins.Die: Today too, the lights and everything are being done by local people we’re working with for the first time. In Japan we have the same staff who always help us, they listen to our songs, and learn/ teach us?. But here it’s completely different, even if they listen to our songs to a certain extent, well, our world views are different, and we don’t win them? But it’s interesting being completely different. Here, it’s not done perfectly____?

39:13

Kaoru: Ah, this is wrong, the final song before the encore is meant to be saku.Guy: Ah, that’s right.Kaoru: Didn’t you make this in Japan? Will it be okay..

41:06Toshiya: (pointing to arms of DEG hoodie) if I cut these it might be cool

Nora: Ah you’re gonna do it yourself??

Toshiya: yep!41:31

Toshiya: uh… Can i get another one?? (cracks up laughing)(are they calling Shinya’s top girly? I’m not sure..)50:15

"They weren’t performing that day so they did some sightseeing"51:48

Toshiya: This is really cool, I got a photo.55:17

Toshiya: For me, tours in Japan are itariritsu _______?tours overseas are for studying.Kaoru: In Japan everything is done very precisely, but overseas everything is much more lose. like “about..” I like that personally.

Shinya: Personally, my thinking is the same for both. Overseas is _________?Die: Overseas fans, and it’s the same for Japanese fans in the countryside, can’t go to our concerts often, so there’s a lot of difference with that. Because for them they don’t know when we will come again, or when they will see us again. The heart is different.Toshiya: ______?a world I’ve never seen before.while I’m fighting I want to try fighting.Kaoru: In Japan we often go to the same places, and we understand the ways of the place. But overseas we have no idea about the places, we’re really just going to do the tour… but I like that. I think if we knew more about the places we were playing then it would affect our concerts. and do something to our condition„

Kyo:I don’t like ____overseas I don’t dislike overseas tours, but I don’t like being separated from Japan? I don’t like moving around, I don’t like the food, I don’t like not understanding at all what?people are saying. Really don’t like it! (laughs) If I came overseas, and put up with all these things I don’t like, then did a shitty concert, I’d really regret it. So I think I need to make them the best.59:16

"What is Dir en grey’s unique weak point?"Kaoru: In a good way, and a bad way, our actions are a bit weak, we… what should I say… we often don’t have self confidence, but reversely, it becomes our power. If all five of us come together we can do all these things, but if we’re alone we don’t have self confidence. So in a good way and a bad way that’s like our weakness.________(also randomly)

Second dvd