#barfout

[sakamichibeeldarchief]

[maggiecheungs]

SUZU HIROSE for BARFOUT MAGAZINE (JUNE 2023)

[yuu-tachi]

@barfout_magazine_tokyo — 新川優愛

[ak13kc29]

[ystk-archive]

capsule promoting L.D.K. Lounge Designers Killer (BARFOUT! magazine vol. 122)

[anamon-book]

Bar-f-Out! Volume 11 October, November 1995 Featuring United Future Organization The Cool Resistants Council カヴァー・ストーリー「ユナイテッド・フューチャー・オーガニゼーション」

[furukawayuta]

11/9より上演となるミュージカル・ピカレスク 『LUPIN ～カリオストロ伯爵夫人の秘密～』 より、主演のアルセーヌ・ルパンを演じる 古川雄大 さんがご登場。柔らかくふわりと舞うような古川さんはさながらルパンのようでした🎩

[2015mai24]

[therose-net]

The Rose for BARFOUT! Magazine Tokyo

[g-men-movie]

メディア掲載情報（2023/6/23）

下記のメディアで映画情報が掲載されます。ぜひご覧ください。

＜雑誌＞ 7月 3日(月)発売「FREECELL」vol.55（岸優太さん 表紙） 7月19日(水)発売「BARFOUT!」8月号（岸優太さん 表紙） 7月25日(火)発売「smart」9月号（岸優太さん 表紙） 7月27日(木)発売「Stagefan」Vol.29（岸優太さん インタビュー） 8月16日(水)発売「からだにいいこと」10月号（岸優太さん インタビュー）

※内容は予告なく変更となる可能性がございます。

[sakamichibeeldarchief]

[questintheskies]

Asuka Saito for BARFOUT!

[iwamotos]

snow man 'barfout' magazine (march, 2024)

[dodompa55]

川口春奈

kawaguchi haruna

from BARFOUT! Vol.341

[ystk-archive]

[Translation] L.D.K. Lounge Designers Killer interview (BARFOUT! magazine vol. 122, Oct. 2005)

(Yes, there's really a long-running arts and culture magazine in Japan called Barfout. Click here to view full-page scans of the feature, and feel free to contact me with any questions/comments.)

What surprising developments took place on capsule's new album!?

I'm crazy about capsule's newest album, L.D.K. Lounge Designers Killer. It includes "Flying City Plan" [Soratobu Toshikeikaku] — featured in a collaborative music video created by Ghibli subsidiary Studio Kajino and directed by Momose Yoshiyuki — for a total of ten songs (perhaps I should mention that video is on the same level as many sci-fi films!). capsule is a creative unit made up of Nakata Yasutaka (producer) and Koshijima Toshiko (vocalist). The two have been entertaining listeners with their extremely poppy releases that'll take you on a virtual joyride through a world of music inspired by interior design and mass-produced goods. That said, I was taken aback by the song "Glider"! Even with their cool, plastic charm, capsule launched a dramatic pop track with a melody that tugs at the heartstrings the minute it begins. If I had to compare it to works by other artists, it's got a similar feeling to Quruli's "Wandervogel" and Supercar's "YUMEGIWA LAST BOY." Geez, I've really been wearing this song out! (At this point, "Glider" is going at #1 on my top ten favorites of 2005!) Including a club-oriented track with an enjoyable guitar sound, capsule's new album is filled to the brim with groundbreaking songs that overflow with human emotion. It'll definitely add a certain je ne sais quoi to your own space!!!

Original interview text by Fukushima Ryutaro, translation by ystk-archive

"From outerspace to the ocean, I wanted it to have a sense of vastness" (Nakata)

barf: How in the world did you arrive at something like L.D.K. Lounge Designers Killer? Nakata: All the tracks on this album definitely make me go "hey, I can make good songs too!" (laughs). barf: The jacket photo is a picture of grass. Nakata: It's fake. The clothes we wear in the "Glider" video are also made out of that. I'm not much of a nature enthusiast, but in Japan we sure do have a lot of state-manufactured parks, don't we? The album cover's aura is sort of like that, how it's natural but somehow artificial at the same time. barf: The first track, "Flying City Plan," was used as the basis of a short film, following the examples set by "Portable Airport" [Portable Kuukou] and "space station No.9." They're even screening it before the movie Touch. Nakata: The first short "Portable Airport" showcases a fantasy town in capsule's type of aesthetic. After that was the resort concept for "space station No.9." So for this third one, we aimed for it to be more visually spacious and panoramic. From outerspace to the ocean, I wanted it to have a sense of vastness, so that's why I went with "Flying City Plan" for the music. barf: It has a majestic feel. Nakata: I tried to give it an easygoing sort of speed. When you're flying in an airplane, you can't feel the wind, but you know it's going by extremely fast outside. So the music follows along those lines, with a relaxed pace, kind of giving off an executive's suite type of vibe. And they retired the Concorde planes, so... (laughs) barf: Did you have any thoughts on the video, Koshijima-san? Koshijima: It's dramatic. She's a damsel in distress (laughs). barf: The second track "Teleportation" sounds so much like capsule's usual while simultaneously feeling quite new. Nakata: That's because, in a rare move, I played the guitar. I've used it before but only for riffs and whatnot, this time I played it more messily. barf: Speaking of guitars, the third track "Lounge Designers Killer" is rather rock-influenced. Nakata: To be totally honest, I was given a guitar. So I was just thinking like, "What if I use guitar sounds for this album?" There wasn't a deep reason behind it (laughs). barf: What kind of guitar did you get? Nakata: The one I used in the music video.¹ After we finished the shoot for "Glider," I added guitars to the song (laughs). Originally I thought it'd be interesting that the video was going to show a guitar being played with no guitars in the music, but since we went through the trouble of getting it, I threw some in the song after the fact. barf: That would've been a bizarre visual element (laughs). I get the sense that capsule is strongly influenced by cool instruments. Nakata: I really like changes of scenery and instruments. With bands, new ideas are sparked by the members interacting with each other, right? I pull my inspirations from instruments and checking out stores I haven't been to before.

"capsule does things without focusing on whether or not it's 'too late' to do them." (Nakata)

barf: "Glider" really comes to life as the seventh track following the science fiction-esque "Antenna." Nakata: I tried to make the transition sound unnatural. There used to be a sense of flow even though songs weren't actually connected to each other, but nowadays there's a high possibility that people will import albums into a computer and listen to everything out of order anyway. I wanted to put something there that would make the listener go "huh?" when the song changed over. "Antenna" starts and ends abruptly: the intro begins and cuts off halfway through, giving the impression that it's broken; it's the same type of weird feeling you get when the TV channel suddenly changes. So I put that in there to make the connection between the songs worse, not better (laughs). barf: "Glider" stands out strongly. Koshijima-san, how was it singing this song? Koshijima: Honestly, my voice was in really bad shape during recording and it was at its worst when we got around to "Glider" — it wouldn't come out at all. But when I got to listen to the song in the studio, I was struck by how long it's been since I heard something so good, and because of that my voice somehow managed to power through (laughs). barf: The title of "Progress and Harmony for Mankind" [Jinrui no Shinpo to Chouwa] feels a bit out of place, doesn't it (laughs). Nakata: It's from the 1970 Osaka Expo. barf: Really!! I didn't make the connection. Nakata: It's so like us to not use the theme from this year's Expo (laughs).² The Osaka Expo happened during a time when people really valued science. They thought like "with science, anything is possible!" Along with the ecological issues, I think the idea of creating another earth is fascinating (laughs). barf: With the kind of rhythm it has, the song's got a cool spacy feel to it. Nakata: That track is close to the type of music that pushed me into doing music. I felt like how I did in junior high, making songs like this when I started recording at home. Koshijima: You definitely did material like this when we first met. It was pretty heavy (laughs). Nakata: That's why when I listen to recent releases, I feel like I've gone back in time. These days, a lot of the songs I hear that people say are "good" are nostalgic. Bands have started making house and electro-ish music with '80s sounds and I wind up thinking, "Can they really do that?" barf: It has gotten like that. Nakata: capsule does things without focusing on whether or not it's "too late" to do them. It's not that I'm bitter about it though; that's just what happens when you do what you enjoy. barf: But if that's how you naturally go about about things, then it's okay. Nakata: It's not a recent phenomenon, but I do think people who create things feel confined. If they do this genre, then they have to use certain sounds — they have so-called rules like that. I make music thinking it'd be nice to ignore those rules.

¹ Nakata owns a Yamaha RGX A2 which he "played" in the Glider music video. I think. I was told that it was actually a different guitar but I guess not! ² 2005 was the Aichi Expo with the theme of "Nature's Wisdom." He's saying this in reference to his disinterest in nature.

[anamon-book]

Bar-f-Out! Volume 16 August, September 1996 27 to 28 – END OF BOYSHOOD Featuring Tokyo No.1 Soul Set 特集「27 to 28 ～ END OF BOYSHOOD」 Part 1：トーキョー・ナンバーワン・ソウル・セット／Part 2：グレイト3／Part 3：エル・マロ、プレイグス、かせきさいだぁ、ホフディラン、シアター・ブルック、加地秀基 etc.