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ankimodaisukiq · 3 months

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Geki-Jin Tanbou Vol.10 Shiren "How to Create Music That People Want to Hear"

Japanese (original, all credits to YU-TO)

Hello everyone, this is YU-TO.

Geki-Jin Tanbou has finally reached double digits.

A part of me feels "Has it already been that many?" while another part feels "Is it still just this many?"

When I started writing, I had a goal of at least reaching Vol.10.

I wondered what kind of presence this Geki-Jin Tanbou would have for me and the music scene by the time I got here.

I thought about that as I continued writing.

Honestly, I don't know what kind of presence this "Geki-Jin Tanbou" has in the music scene, and I'll probably never have a definitive answer like "It has become this kind of presence!"

But, at least for me, this "Geki-Jin Tanbou" has become something indispensable.

I’ve learned a lot from various "geki-Jin" through writing, and maybe through this writing, I’ve come to feel the possibilities and power of "music," something invisible, even more than when I'm actually making music.

For this Vol.10, I predicted it would be a deep learning experience even before the interview, and indeed, I felt I learned a lot both as a person and as a musician.

The guest for this Vol.10, who has taught me so much, is Shiren, the guitarist, main composer, and founder of Unlucky Morpheus.

To be honest, delving deep into a musician of his caliber is both enjoyable and a bit pressuring.

He continues to energetically release original music filled with orchestration, including violins, showing his high compositional skills.

As the brain of the band, he carefully considers "how to spread the music to the world" and takes action, achieving results, demonstrating his high level of fundamental strength.

Shiren's potential as a musician and his leadership skills in driving the band are clearly conveyed, even from an outsider’s perspective. Through interviews with other Unlucky Morpheus members like Jinya and FUMIYA, I also felt his absolute trust from those around him.

How should I convey such a person to the readers of this "Geki-Jin Tanbou"?

As I pondered this, I spent a few days listening to Unlucky Morpheus' latest album, "Unfinished," which was released recently.

Although it wasn't our first meeting, we hadn't had a proper conversation before.

Actually, Shiren is a senior from the specialized school "MI JAPAN" that I attended. We had crossed paths a few times during our school days, and even played together in an ensemble class (the song was METALLICA's Battery, I think, haha).

He had even come to an Undead Corporation concert once, where we exchanged a simple "long time no see." However, this was the first time I talked face-to-face with Shiren about music during this interview.

The first thing I felt after talking with Shiren was his genuine love for music and his continuous pursuit of learning.

I can almost hear people saying, "Isn't that obvious if you're doing music?" but it's not at all obvious. The extreme thing to say is that the ability to "seriously love and keep learning music" is a remarkable talent that can make you a professional just by itself.

Obviously, "music activities" don't just involve playing music. Money, human relationships, self-promotion, future prospects... all these intertwined activities are "music activities," and it's not uncommon to forget the fundamental aspect of "playing music."

Many musicians in the world end up buried in such miscellaneous matters, with their true pursuits and love for music gradually fading away.

However, Shiren is different.

Even though he thinks and handles those miscellaneous matters as the band leader, what drives him is unmistakable love and curiosity for music, which remains a firm core within him.

In this Geki-Jin Tanbou, I hope to fully convey Shiren's love for music and his constant pursuit of evolution.

As usual, the prelude has become long, so let’s get into the main story.

Chapter 1: The Musical Foundation Given by Piano and Trumpet

Shiren started learning piano at the age of five and spent his youth closely connected to music, playing the trumpet in the school band during his student days.

Even though Shiren was familiar with playing instruments from a very young age, it seems he wasn't particularly passionate about piano at first.

Shiren: It was really just a "playful lesson" or something, not aiming to become a classical pianist at all. A local piano teacher came to my house weekly, but I was an unmotivated student, often greeting the next lesson day without any practice (laughter). But my teacher was kind and never got angry, which I think was actually good. Even though a week would pass without any motivation to play the piano, I never came to hate the piano.

At this point, Shiren wasn’t very interested in music yet, but thanks to the teacher’s gentle guidance, he didn't come to dislike playing the piano.

Thanks to that kind teacher (haha?), Shiren didn't end up disliking playing instruments and joined the school band to play the trumpet when he entered middle school.

Shiren: I continued piano until middle school and joined the school band to play the trumpet from then. I took the school band quite seriously, participating in prefectural competitions and various school contests, and practiced every day.

Did the experience of playing the trumpet in the school band, which he took quite seriously, influence Shiren's music later on?

Shiren: I think there aren’t many rock musicians who have the experience of playing multiple pieces just with the trumpet. There are probably quite a few who played piano, but the experience of playing individual instruments within an orchestration besides the piano influenced my value in composing music, such as liking to add counter-melodies. Strictly speaking, a school band isn’t an orchestra, but it gave birth to an interest in orchestration, which has always been useful.

The sound of Unlucky Morpheus is distinctly different from other band sounds, even at first listen.

The beautiful arrangement of various sounds outside the band sound, like violins, overlapping effectively in perfect balance, is not something easily created.

Of course, it’s possible to study music theory later and incorporate orchestral ensembles into band sounds. Still, the natural understanding of orchestration within Shiren, cultivated by his experience in a school band, likely enables the seamless integration of grand soundscapes similar to classical music into metal sounds without any discomfort.

I think Shiren understands orchestration not just as a "theory" but also as a "sense."

I believe this "sense" of understanding is the significant foundation of the current sound of Unlucky Morpheus.

Chapter 2: A Life-Changing Encounter at the Library and Advancing to MI JAPAN

Contrary to his unmotivated piano lessons, Shiren put much effort into his school band activities.

While studying at the library for his high school entrance exams, aiming to enter a high school strong in school band activities, Shiren decided not to join the school band even after being admitted.

Why was that?

The reason was that he encountered that "monster band" which has frequently appeared in this "Geki-Jin Tanbou" while studying at the library.

Shiren: I went to the library to study for the high school entrance exam. I brought a CD player there and borrowed various CDs from the library to listen to while studying. One day, I borrowed X's CD, knowing only their name, and was really shocked. The mix of intense and beautiful sounds, a sophisticated artistic music that could move you, combined with a ferocity I had never heard before. It made me think, "Is there such music?" The guitar solo was incredibly fast, and I thought, "Wow! This is cool! I want to play this!" I decided I would practice the guitar like crazy after the exam and started playing guitar around the time I entered high school. Although I got into a high school strong in school band activities, after listening to X, I was like, "I'm going to play the guitar!" So I didn't join the school band and just played guitar.

Honestly, how many young people's lives has X changed? (laughs)

X must have already disbanded by this time, but their influence continued to change many lives even after disbanding, which always surprises me.

Influenced by X, Shiren picked up the guitar and started aspiring to become a professional, dedicating himself to practicing guitar.

Shiren: Although there wasn't a light music club, we could practice at school, so I brought a mini amp and played with friends. Outside of school, I formed a band with friends, performed at school festivals, and participated in events like the Teens Music Festival. We also tried making original songs besides covers. Since we didn’t have a high-pitched vocalist, we created songs that felt more like visual kei or J-ROCK rather than metal, similar to Janne Da Arc. Around the third year of high school, we started performing at live houses, but it was really just our friends coming to watch. We were just playing recklessly, but I practiced a lot, aiming to become a professional someday.

As he started his own band, creating original songs and exploring the path to professionalism, Shiren decided to attend the specialized music school, MI JAPAN (commonly known as MI), to seriously pursue music.

Shiren: Back then, I read "YOUNG GUITAR" which had a strong connection with MI, so I became interested in MI and attended a trial class during the summer break. Although I knew the basics because I had already been studying the theory in high school, MI taught me a lot of things that can't be found in books. I felt that MI had a lot to offer in that regard. Many other schools had one-day trial classes, but MI provided practical lessons over several days, which I found incredibly enjoyable.

That trial class was what convinced him to enroll, and after graduating high school, he started attending MI JAPAN. Shiren says he learned a lot there.

Shiren: First, the other students weren't very proactive (laughs). I realized that I was quite aggressive in comparison (laughs). Among all the students, I was definitely in the top five in terms of attendance and I took every class I could. I knew I only had two years there, so I wanted to learn everything I could and do everything possible. I learned so much that it's hard to sum it up in one phrase. Having teachers who could produce "good sound" nearby, and hearing that sound every day, was invaluable. I already had a basic understanding of theory, but there are things you can't notice just by practicing at home. You can't understand how to produce "good sound" unless you experience it live. Being able to hear the sounds of skilled musicians and their perspectives on music on a daily basis was great.

As I mentioned earlier, I also attended MI JAPAN, and Shiren was a senior, one year ahead of me. At the time, he left the impression of "a guy who's always at school." He sometimes participated in the ensemble classes for first-year students and actively took optional courses. It's natural to be proactive in learning when you've chosen a path for yourself, but Shiren seemed particularly eager to learn and evolve, even during his MI JAPAN days. That drive for continuous learning and self-improvement remains unchanged today. His incredible guitar skills and exceptional composition sense were likely shaped by his "aggressive and proactive" learning attitude.

Chapter 3: The Formation of Unlucky Morpheus

Shiren: For a while, I tried to run my own band while doing part-time jobs, but at that time, nothing really came together, and I was just playing aimlessly. Then, after some time, a friend from my MI days invited me to play at anime song cover events, which had a lot of attendees, unlike my own band. That’s when I realized that having an audience at a live show usually means there’s a specific "purpose" behind it. People don't generally come to live shows just to see if there are any good bands; for instance, at an anime song cover event, fans of the voice actors singing those songs come to the event. It’s a simple fact, but it was something I hadn’t noticed before because I had been playing aimlessly. I realized you need a pre-stage reason, not just "Listen to my guitar!" I learned this while also starting my own visual kei band. For about two years after graduating, I was active in this way.

Engaging in music activities often feels like a gamble.

"If I keep performing at live houses, will I get a chance?"

"If I make good music and play well, I should catch someone's eye!"

Such aimless activities usually don’t build up success and can end up tightening a noose around your neck the more you do it. If you want many people to see your music, you need to think about who you want to appeal to and how to reach a broad audience. Shiren seemed to realize this. While learning these things, he was exploring how to create "purpose" with his anime song cover band and his visual kei band. But then a sudden encounter led to what would become Unlucky Morpheus.

Shiren: MI JAPAN used to produce a graduation CD every year, right? Hibiki from LIGHT BRINGER heard it somewhere and contacted me. We weren’t acquainted, but we met and talked, and decided to do an anime song cover band together. That’s how I first met Hibiki and, eventually, Fuki (Unlucky Morpheus' vocalist).

It’s fascinating to think that if Hibiki had contacted a different guitarist, Unlucky Morpheus might never have been born. For over ten years, Shiren and Fuki would work together. What was Shiren’s initial impression of Fuki?

Shiren: I had been looking for a high-tone vocalist, and even though Fuki was a female vocalist, her voice was significantly higher and stronger than that of an average female singer. I thought, "This is the kind of vocalist I wanted to work with." Although she was still young and somewhat inexperienced at the time, she had that "strength." Also, not many people I played with back then could write lyrics properly, but Fuki could from the start, which left a good impression.

In Unlucky Morpheus, the melodies sung by Fuki with her powerful and clear voice are their greatest weapon.

At this time, Fuki was already active with LIGHT BRINGER, so her singing and lyric-writing were already at a high level. However, even with that in mind, Shiren sensed a special talent and ability in Fuki. Seeing potential in Fuki, Shiren decided to create music with her.

Shiren: At first, I made a metal arrangement of "God knows..." from "The Melancholy of Haruhi Suzumiya," which was popular on Nico Nico Douga at the time. It gained some traction and became quite popular. After that, I learned about Touhou arrangements and thought, "I want to do this too!" So, I invited Fuki and started "Unlucky Morpheus."

Initially, Unlucky Morpheus was just a "musical project" centered around Shiren and Fuki, not really a "band." However, today, Unlucky Morpheus has become a genuine "band" with each member exuding strong individuality, combining into a powerful entity. How did Unlucky Morpheus transform from a "project" to a "band"?

Chapter 4: The Transformation into a Band

Nowadays, Unlucky Morpheus primarily creates music by recording each part in the studio, but in the beginning, Shiren handled all parts except vocals through home recording.

Shiren: At first, the drums were programmed. For the first pressed CD "REBIRTH," I switched from Cubase to Digital Performer for production but didn’t know how to program drums, so I created drum tracks by connecting beat sample sounds one by one (laughs).

It’s a charming episode (laughs). Like my other band, Undead Corporation, Unlucky Morpheus initially focused on creating cover tracks of music from the game "Touhou Project." This "Touhou arrangement" scene remains popular, and many people likely discovered Unlucky Morpheus during this time. In October 2009, at a Touhou Project event, Unlucky Morpheus performed live as a band for the first time. This live show left a lasting impression on Shiren.

Shiren: In the summer of 2009, we were invited to an event that gathered projects doing Touhou arrangements in a band format. I thought, "I’d like to try this," so I gathered musician friends and decided to do a live show in October. The bassist was Ogawa, the same as now, the guitarist was Seiya from LIGHT BRINGER at the time, the drummer was K from a project called Dragon Guardian, and the keyboardist was my friend Kohei. That live show was incredibly impactful. We had only been Unlucky Morpheus for about a year, but there were many audience members crying during the show. I thought, "This might be something special," and felt that especially now. Back then, being young, a year felt like a long time (laughs). By then, we had already released four to five works, so it felt like we had been doing this for a while. But in any case, I felt, "I’m glad we did this live show."

Despite feeling a strong response to Unlucky Morpheus from this live show, Shiren didn’t immediately decide to continue as a band. The current lineup formed gradually as the musicians who supported the occasional live shows became permanent members.

Shiren: I was still writing all the songs by myself and we had only done one live show, so I didn’t have a vision of turning it into a band. The current members came together by gradually finding reliable support musicians, and eventually, we just became a band.

It’s impressive how such a unique and talented band could form almost organically (laughs). Rather than being bound by the goal of forming a band, freely gathering musicians he liked to play his music might have made it easier to assemble skilled and unique members. There aren’t many attractive musicians completely available, so asking them to "help with a project" rather than "join a band" might have made it easier for them to participate, ultimately enhancing the band's quality. This approach led to the creation of the highly individualistic Unlucky Morpheus. How did Shiren meet the current members of Unlucky Morpheus, and what attracted him to each of them?

Chapter 5: Members of "Unlucky Morpheus" as Seen by Shiren

Unlucky Morpheus is a band where each member's individuality stands out prominently. While some bands function as a cohesive unit, Unlucky Morpheus impresses with each member showcasing unique qualities. These independent forces converge into a unified whole, creating music. If likened to colors, rather than blending into one shining color, each member's distinct hues coexist side by side, creating a rainbow-like brilliance.

It seems that Shiren's compositional prowess is what balances these exquisite shades. But what drew Shiren to these distinctly individual members to approach them? First, there's Jinya, who collaborates with Shiren on twin guitars.

During his appearance as a guest on "Geki-jin Tanbou Vol. 7," Jinya mentioned that Shiren had noticed his guitar playing for some time. What was the actual story behind this?

Shiren: At the time, Kono-kun from Ankimo had been watching an event where Tansan-kun (note: Jinya's nickname) was playing, and he mentioned, "There's this interesting guitarist who's young and really skilled." Later on, there was an opportunity for Tansan-kun's band to play alongside us, and when I saw him, he was indeed incredibly talented. Even though he was in high school, he left an impression of someone who "plays guitar properly," and his fast playing was exceptionally good. His mechanical phrases were especially skillful. Seiya was with us as a regular support at that time, and since Seiya was also very skilled, I didn't approach Tansan-kun immediately. But after a while, Seiya decided to stop supporting us, so I thought, "Maybe I should reach out to that young guy from back then," and that's when I contacted Tansan-kun (laughs).

To understand why Jinya, at such a young age in high school, could impress Shiren with his technique, please refer to "Geki-jin Tanbou Vol. 7." It seems that Shiren saw something astonishing in Jinya's technique back then.

It appears that for Shiren, Jinya is like a "son" figure. He discovered Jinya when he was still in high school, imparting to him the ABCs of music that he couldn't have learned alone, guiding him toward growth. Their relationship is an intriguing mix—not just senior and junior or master and disciple.

On the other hand, Hiroyuki Ogawa, the bassist, has a more equal relationship in terms of age and is the member with the longest history with Shiren.

Shiren and Ogawa have been close since their days at MI JAPAN, and as mentioned earlier, Ogawa has been handling bass for Unlucky Morpheus since their first live performance.

Shiren: We were close since our MI days, and even during school, he supported the band I was playing with at the time, and we went to play at jazz bars together... That's the kind of relationship we had while we were students. He noticed me right from the beginning of our first year, saying, "I came out from Hokkaido with friends, and I want to play with skilled guys, so let's do various things together from now on." Our interaction started from that time.

I haven't had direct interaction with Ogawa, but like Shiren, he was also a senior to me at MI JAPAN. He seemed to be an active student, participating in activities such as joining the late Kando Fujioka's TRICK BOX during his school days and sessions with guest musicians at seminars. Perhaps it was this proactive attitude that resonated with Shiren during their student days, deepening their relationship.

Supporting the foundation of Ogawa and Unlucky Morpheus at its core is Fumiya, who also appeared as a guest in "Geki-jin Tanbou Vol. 8."

As mentioned in Vol. 8, Fumiya previously participated in Fluorite, where Fuki-san supported vocals. Shiren liked what he saw of Fumiya playing "metal" drums in a live video from when he supported Fluorite, which led him to contact Fumiya and invite him to support Unlucky Morpheus.

Shiren: When Fuki supported Fluorite, I saw a live video of Fumiya playing these really "metal!" drums, and his playing left an impression on me. It felt like he was playing the kind of technical phrases I wanted to hear, even more so than what I saw in the video. I liked that he played a lot of things that I hadn't tried before. When I first entered the studio, I thought, "Wow, he has a lot of different things set up for drums" (laughs). I liked ANGRA, so I wanted to try playing drum phrases like Aquiles Priester, using small diameter cymbals for 2 beats and polyrhythmically splitting them, and adding accents with the bell. Fumiya arranged those things even further in his own way, and played things that made me think, "What's going on here?!" I felt like, "This guy came and played the things I wanted to hear!" more when we first entered the studio than when I saw the video.

Aquiles Priester, drummer of ANGRA, is known for splitting beats polyrhythmically with small diameter cymbals and adding accents with the bell, and his style is distinctive. Fumiya, who seems to be strongly influenced by him, perfectly matched Shiren's preferences. Since then, for over 10 years, Fumiya has reigned as the unwavering drummer of Unlucky Morpheus.

Meanwhile, although Jill, the violinist, has only been with Unlucky Morpheus for a few years, her remarkable presence is undeniable.

It's quite unusual to have a violinist in a heavy metal band, but Jill's glamorous gothic looks and her ability to skillfully play violin solos that synchronize with high-speed guitar solos leave an unforgettable impact once you see her perform.

Shiren: I first saw Jill playing as part of a group supporting Yousei Teikoku live, and she made a strong impression on me with her incredible skill and fashion sense that added to the world view. That memory stuck with me, and when we were producing "VAMPIR," I wanted to record live violin, so I contacted her, and that's how she joined.

Shiren mentioned that he was impressed by Jill's star quality from their first meeting, and in recent years, Unlucky Morpheus has many songs where her violin is indispensable. The intense solo exchanges between guitar and violin during live performances are something you won't see elsewhere, making Jill essential to Unlucky Morpheus both in terms of differentiation from other bands and for future endeavors.

Therefore, besides core members Fuki and Shiren, Unlucky Morpheus comprises highly charismatic musicians with a lot of charm. Sometimes, in such "super bands," clashes of personalities can lead to the suppression of individuality. However, thanks to Shiren's precise production skills that leverage each person's uniqueness and his compositional ability to project that uniqueness into music, Unlucky Morpheus shines as a fascinating ensemble of five distinct personalities.

Shiren's ability to see both the individual and the collective, and his human skills to balance and apply them effectively to his music, are surely part of his charm.

Chapter 6: "Lead Second Guitarist" Activities in Yousei Teikoku

In discussing Shiren's career, his involvement in Yousei Teikoku alongside Unlucky Morpheus is a significant part of his journey.

Yousei Teikoku is a band known for their unique blend of metal and anime song influences, incorporating accents of classical and techno music styles into their original compositions, which enjoy high popularity both domestically and internationally. Shiren joined Yousei Teikoku in 2013.

Shiren: I had been playing in visual kei bands alongside Unlucky Morpheus, but one of those bands ended up disbanding. It was around that time I found an audition notice for Yousei Teikoku and thought, "Why not give it a try?" So, I decided to audition.

After progressing through the audition process, Shiren made it to the final selection and joined Yousei Teikoku as a guitarist and "Souchou" (note: Yousei Teikoku assigns ranks to its members). While Shiren has led Unlucky Morpheus as its founder and overseen the band's operations, what were his initial impressions of joining Yousei Teikoku midway through his career?

Shiren: The biggest difference was definitely not being the leader. Also, there were differences like whether it was independent or major label, and various other aspects. For instance, having a manager, or opportunities like performing at festivals that weren't feasible independently... But in terms of what was easier or harder, there wasn't that much difference. It was just about doing my best in that environment.

Despite feeling the differences from his previous environments, Shiren maintained his proactive approach, always considering what he could contribute and making efforts to be a positive force for change within Yousei Teikoku.

Shiren: Maybe I wasn't the leader, but I did speak up autonomously to make suggestions. I would offer opinions like, "I think we should tweak the makeup or costumes a bit more." Looking back now, there were times I felt, "Given the circumstances, maybe it couldn't be helped," but I still put forward ideas and proposals to make things better.

While Shiren continued to lead Unlucky Morpheus, he also played a role as one of the composers in Yousei Teikoku.

Shiren: I did compose songs for Yousei Teikoku, but unlike with Unlucky Morpheus, I didn't control the band's musical direction alone. Sometimes I'd think, "Let's try it this way," but there were times when it wasn't right. But I found that interesting. Since my MI days, I've also wanted to continue playing as a studio musician. I would explore the direction I thought was good, but if it turned out differently, I'd switch gears and think, "Let's consider that direction instead," aiming to express myself within the framework provided. Even though I was the lead guitarist in Yousei Teikoku, musically, I approached it with a mindset akin to a second guitarist... like a "lead second guitarist" (laughs). But I enjoyed that too, and I had no complaints. I had a similar stance when playing concurrently with Denkishiki Karen Ongaku Shuudan. But perhaps it was because I was able to balance both, considering it was a two-pronged approach for me. Looking back, if I had felt I couldn't fully express my art, I might have felt some dissatisfaction. But well, I enjoyed playing nevertheless.

In Yousei Teikoku, Shiren effectively utilized the opportunities presented to him and leveraged his potential for personal growth. From 2013 onwards, he consistently faced the music and his potential as a guitarist, tackling both with exceptional energy. His unparalleled guitar play and deep musical knowledge likely brought about changes in various artists' music, including Yousei Teikoku. It was probably only a matter of time before he ascended to become one of Japan's top guitarists. However, his body, pushed to the brink, was nearing its limits after dedicating himself so intensely to his guitar day in and day out.

Chapter 7: Trials and Gifts

In 2018, Shiren left Yousei Teikoku. The reason was the worsening of tendonitis that had troubled him since 2016.

Shiren: At that time, I was very busy with recordings, and the schedule required recording quite a number of songs in a short period. It was during that time that things exploded for me. It felt like fatigue would hit me within about 20 minutes after playing for three hours straight. That kind of sensation. So, I thought it wouldn't be good to continue playing blindly like that. That's when I decided I needed to change my activity style drastically, what you might call a "doctor's stop" or rather a "self-stop," to drastically reduce the amount of guitar playing.

Forced to take a period of rest, Shiren quit all bands except Unlucky Morpheus, delegated most of the guitar parts to Jin'ya, and focused on activities centered around vocals and composition. His greatest weapon had been taken away, which could have potentially led to retirement. What was Shiren thinking during this time?

Shiren: I was really worried about what would happen to me as a guitarist from then on. But music itself had always been what I do. Even if I started working at a company now and doing field sales, I wouldn't be able to do anything, so rather than deceiving myself... Although my hands hurt, I could probably still play guitar better than an average person, and I could still compose. So, I was only thinking about continuing music activities adapted to my current situation. I did think briefly about becoming a professional mahjong player (laughs), but I was going through a really tough time mentally... It seems I didn't show it outwardly at all though. But ultimately, I had to go along with the situation I was put in. What good would it do to just say "I can't play guitar"? So, I decided to continue activities even without playing myself. Jin'ya is a good guitarist, so if there's something I can't play, he can play it. Until then, my consciousness was focused on developing myself as a guitarist, but from now on, it shifted to nurturing the band called Unlucky Morpheus, and I started thinking about continuing band activities from that perspective.

Shiren's feelings at this time when he could no longer play his greatest weapon, the guitar, are difficult to express in words. However, it wasn't like he had lost everything within himself. Shiren turned his thinking around, focusing on the pillars still within him such as composition, vocals, and band management, and aimed squarely at those areas.

Shiren: In my case, maybe I could have recovered. I really didn't know if I would recover, but I thought, "There's nothing I can do about what's gone." So, while watching the progress, I thought I should continue this way until I recover. Stopping might make me more anxious. Rather, maybe I wanted to have confidence within myself that even in this situation, "I can still do this." Something like "I won't stop!" (laughs).

I think Shiren is a truly positive person. When faced with a disadvantageous situation, there are three types of people: those who become depressed without taking action, those who take action despite their limitations, and another type who makes positive statements but takes no action. The latter type is actually the most troublesome, as they are usually unaware of their own negativity. Shiren wasn't just saying, "I'll do what I can't play," he was putting it into practice in every way possible. As a result of this practice, Unlucky Morpheus has been able to continue its activities more energetically than ever before. Of course, I also think this is due to the efforts of the other members (mainly Jin'ya), but having a leader who can show such a positive attitude not just in words but in actions surely helps the other members to follow suit. Furthermore, Shiren talks about how this period of recuperation had a significant impact on his life.

Shiren: I went on a trip to Okinawa for about three weeks. It wasn't really about "finding myself" (laughs), but I had been playing music for my whole life, so I thought maybe I should try not playing music for a while. I'm not sure what I gained from it, but I had a really great time. I spent about half of it with a couple of friends who took me to various places. We did snorkeling, and the beauty of the sea in Okinawa was just beyond words, truly moving. It was like being in an aquarium when you put your face in the water. Especially in Okinawa, it left a strong impression on me. I hadn't really enjoyed outdoor activities much before. It might be a bit off-topic, but musicians, well, it's obvious, but just doing music isn't enough... Listeners have many hobbies and pleasures in their lives, like movies or outdoor activities. So, musicians, for them, music is absolutely central, but for ordinary listeners, they have movies or outdoor activities and many other things. So, as musicians, we need to understand when those listeners want to listen to music and how they relate to music is different from us. So, I've been thinking about that recently, even though I study music a lot and know a lot about music, I need to imagine how those fans position "music" in their lives.

It's important to delve deeply into one thing, but sometimes it's just as important to throw it away and look at something else. Having stepped out of his music-immersed days, Shiren was able to broaden his perspective and see a different world.

Shiren: Music is a "language," so you have to use it to express "something." Even if you're good at writing letters, it's only about "being able to write good letters," but what's really important is "what you express with those letters." So, you have to have depth in your expression, and your expression has to be worth listening to.

I think true "good music" is music that reflects one's inner self, thoughts, values, and aesthetic sense, and that can make a third party feel it. Did the beautiful sea views Shiren saw in Okinawa during this recuperation period, and the relaxed and enjoyable time disconnected from music, somehow influence his music abstractly? Even if not, the experience he gained, which he could never have gained just by playing music, must have been an unforgettable and important experience in his life. Perhaps this major injury was also a small trial given by the "music god," saying, "Take a break, you'll write better songs that way," and perhaps it was also a great gift. Of course, I'm well aware that it would have been better not to experience such an injury, and I know there are no such supernatural beings in this world. However, that's what I thought after hearing Shiren's story.

Chapter 8 - Shiren's Composition Theory

As mentioned earlier by Shiren, all the music of Unlucky Morpheus is composed by Shiren himself.

Shiren has spoken about his dedication to composition in various media. What does he primarily focus on when composing?

Shiren: It's really difficult to pinpoint the most important thing... First, fragments of the chorus or intro of a song come to mind. The song has a "direction it seeks," a "direction it wants to go," and I take that into account along with the "expectations" of what Ankimo wants to perform. I think that's how I bring the song to completion. Also, I try to introduce new elements, even if it's just a few percent. I feel like there's no point in making music if there aren't any new elements. I don't want to create the same kind of song over and over again, or even if they're similar, I feel like they can't be the same.

Shiren's drive for improvement, which he has had since his student days, remains strong to this day.

For Shiren, composition is not only about "self-expression" but also a means "for personal growth."

While it's not easy to introduce new elements every time, what specific aspects such as melody or rhythm does he focus on to bring change to his songs?

Shiren: Of course, melody and rhythm are important, but more subtle changes like "trying out a new tuning" can be effective. For "Taki Yasha-hime," I experimented with a slightly different guitar tuning, which made it easier to bring change, and I could create that piece smoothly. Also, I try to incorporate new elements like synthesizer tones that I haven't used before, even if it's just a little change each time.

Released in April this year, "Taki Yasha-hime" introduced a new approach not seen in previous Unlucky Morpheus works, incorporating Japanese scales, presenting a new form of Japanese heavy metal.

The fusion of unsettling Japanese scales with heaviness, contrasted with Fuki's melancholic and beautiful melody, skillfully matches the elements of "wa" (和, traditional Japanese aesthetic) without turning into a comical touch when forcibly incorporated, characteristic of Unlucky Morpheus's melodious speed metal.

Shiren: Making changes each time really feels like I'm doing it for myself. I just don't want to make the same song. Rather than Iron Maiden, I'm more like Judas Priest (laughs). Bands like Slayer, who continue to perform the same ideas relentlessly, have their own integrity, which I think is good. But I feel like if I don't bring change, there's no point in making new songs. But that's really a selfish way of thinking. In reality, just changing the lyrics would make it a different song because it's a different idea. But once that song is within me, I don't like it if there aren't any new elements.

As one creates music, one's methodology for composition becomes solidified over time, making it easier to create, but it also leads to what is commonly referred to as "monotony" among artists.

The problem is that most artists are unaware of their own "monotony," or they give up trying to introduce changes, which often leads to artistic decline, affecting not only their composition but their overall activity. To prevent this, one should approach composition from the outset with the premise of "introducing new changes," similar to how the human body requires varied training loads rather than a consistent one, which may also apply to music.

When approaching composition, Shiren imposes a certain level of "burden" each time by "introducing new elements," potentially preventing stagnation in his thinking and methodology without even realizing it.

Unlucky Morpheus continues to delight their fans with new styles and ideas presented in a light-footed manner, thanks to Shiren's challenging and flexible approach.

Chapter 9 - Sources of Inspiration

Shiren, who challenges new elements every time and brings them to fruition, draws inspiration from numerous sources.

For example, Shiren openly states that he is influenced not only by rock and metal but also by classical music, but how significant is that influence within him?

Shiren: It's probably more foundational than for ordinary rock musicians. But regarding orchestration, I suppose I'm somewhat influenced. Nowadays, pop songs and anime songs often feature flashy strings, so in a sense, I'm more influenced by integrating classical elements into pops. But since I played the trumpet in middle school, I understand that orchestras are structured not just around chords and melodies but around independent overlapping melodies. I'm particular about applying such combinations of melodies to orchestrations such as violin lines for vocals.

Effectively handling violin in metal music requires a rather advanced understanding of music theory. If it's just for arranging to create a slightly grand atmosphere, it's not that difficult. However, for Unlucky Morpheus, where the violin becomes essential to the song and sometimes stands in the same position as the guitar, it would be impossible to fully utilize the violin throughout the song without knowledge from fields like classical music.

Shiren: Rock musicians may not pay much attention to such orchestrations. In that sense, classical influence might be strong. Playing phrases like "Bach" on the guitar is practically "rock" now. It's influenced by neoclassical ideas, and I don't think you can say it's directly influenced by classical music anymore. Yngwie Malmsteen started by wondering what would happen if he played phrases from Paganini or Bach on the guitar, but today's people play them because they listen to Yngwie Malmsteen, so their thought processes are different. They already know it's cool, so it's not something they developed themselves. So, in terms of creating by my own values, incorporating such counter melodies into metal music could be considered influenced by classical music.

Pursuing something new every day and putting it into practice, Shiren's interesting opinions are unique to him. The combination of classical and metal is not necessarily something new; rather, it's an idea that has been used extensively. However, Shiren views this combination from a different perspective and has successfully integrated classical and metal in a different way from others.

Additionally, Shiren is influenced not only by music but also by manga, anime, games, and various works, drawing inspiration from them.

Shiren: The worldview of power metal is like a game, right? (laughs) It's like "fantasy." So, I think that's what I like. I like Final Fantasy and Dragon Quest. It's not limited to anime and games, but in general creative works, I like works with a strong "exposition, development, twist, conclusion" structure. There's a manga called "Liar Game" that I really like; as the story progresses, there are moments like "what seemed like this was actually that!" where the foreshadowing is collected. The manga is serialized, so it often builds up excitement but ends weakly, or it might be canceled, so it can't be helped. Still, I like works that really build up to a strong conclusion. "Karakuri Circus" is also like that, and although it originated from a game, the work "STEINS; GATE" is also amazing with its use of foreshadowing. In music, I consciously aim to create developments that progress toward a conclusion, much like these works with their initial phrases developing and unfolding into different rhythm patterns.

Shiren's commitment to the exposition, development, twist, and foreshadowing is well utilized in Unlucky Morpheus's songs. For example, in the lead track "Unending Sorceress" from the recently released album "Unfinished."

While the development itself is not overly complicated, it is apparent upon first listen that the song progresses without boring the listener and leaves a lasting impression. The intro part, which can be interpreted as a four-beat danceable segment, is impactful, but it does not reappear after the beginning until the final ending. Just before this, there is a bridge-like part with a beautiful melody sung by the vocalist that contrasts with the intro part, creating a different feeling despite being the same part. Additionally, the tension-filled guitar solo that accelerates toward the ending, where you can feel the exposition, development, twist, and conclusion even within a single part, is also charming. Personally, I find it impactful how they harmonize the melody of the chorus in twin harmony. Although the example I mentioned is purely based on personal feelings, Shiren's commitment to exposition, development, twist, and foreshadowing is scattered throughout Unlucky Morpheus's songs. When you listen to their music with these aspects in mind, you may see a different world unfold.

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Final Chapter: The Emotions Born from "Learning and Nurturing"

In conversations with Mr. Shiren, I strongly felt his intense eagerness for "learning". Through his pursuit of knowledge, he consistently maintains an awareness of "nurturing" himself, as well as the people and things around him.

Shiren: After all, everything that happens in the world is a form of "learning". I really do love learning. If you think about mastering music, it feels like there's no end to it. But recently, I've reduced my focus on learning internally and shifted more towards output. When I say "learning," it's about input, but music activities always involve both output and input. Trying things out teaches you something within those experiences, so I believe both aspects are important. But as a musician, I always want to move forward even just by 1mm every day, like "I listened to a new song today." I've always liked the feeling of realizing that "I've learned something," not just limited to music. Among those, music is the most important thing in my life, so I feel even more strongly about it. However, I feel like I've crossed a critical point now. In the past, I used to want to incorporate 10% new elements into each song I made, but now I'm okay with just 3%. I've significantly lowered the learning hurdle. Instead, I'm focusing more on vigorously moving the band forward, and ultimately, that becomes a form of learning. I'm emphasizing not only making music but also nurturing the band through having people listen to it and playing it live.

Shiren mentioned that a while ago, he focused on the quality of music, aiming to create music that only he could make and to become a better guitarist. However, now he's concentrating on expanding Unlucky Morpheus and focusing on making the band more widely known.

Shiren: I think there are people among musicians who feel that they're not contributing to society. Especially now, it feels like we're being treated as "non-essential" and that our work isn't necessary. I don't think so, but at first glance, it might seem like we're "not needed." On the other hand, as I get older, I gradually feel the desire to contribute to others. It's not just about wanting to do this and that for myself, but about wanting to become a valuable existence on this Earth and feeling like "I want to do something for someone." That feeling is gradually growing. I'd like more people to listen to my music and have fun with it every day... Of course, I was happy when people cried at our first live performance, but at that time, I was too focused on pursuing my music, so I didn't feel that way. But now, I want to believe that my music isn't just satisfying within myself but also that "what I enjoy playing is benefiting others" ... I think that feeling is starting to grow more and more. If so, I want various people to listen to it and want to create enjoyment through "music." I think it's better to have more fun things. And if you're going to do it, you'd want to do it in a larger community, not a small one. I didn't understand wanting to perform in a large venue in the past. But now, I'm starting to feel that way.

When I was able to create music that I was satisfied with, I was naturally happy. However, if the music I'm satisfied with is conveyed to people and they feel the same level of excitement or even more, I would be even happier. It means that the artist and the listener have connected through music without directly meeting each other, and that connected emotion would be the greatest joy for both.

Sometimes, that connection prevents my mind from falling apart and releases my self that had been shrinking, igniting a fire in my chilled soul. In a sense, music has a practical effect that can bring people to a normal state, like medicine or a vaccine, and direct them towards resolving negative issues.

Shiren: I went to see ANGRA's live performance a while ago... I've been listening to "Carry on" for a long time, and of course, I love other songs too, but "Carry on" is my favorite. At that time, the tour was not with Andre Matos but with Eduardo Falaschi, during the "Temple of Shadows" tour. It was an amazing live performance. Before "Carry on" in the encore, the intro of the 1st, "Unfinished Allegro," started playing... At that point, I was really nervous and excited, thinking, "Here comes 'Carry on'!" When the intro started, tears welled up and I thought, "Wow!" It was such a moment of thinking, "I'm glad I like this music!" If such moments could happen with my music, I would be happy. I want to provide such moments.

Shiren practices the simple yet challenging task of learning music, using it to impress people, overcoming harsh situations such as injuries, and putting a lot of effort into making Unlucky Morpheus more active and growing even more with his own songs to impress more people.

Why has Shiren been able to push the band Unlucky Morpheus up so far, pursuing music in such a stoic manner?

That's simply because he loves the existence of music, has been helped by the existence of music, and is still moved by the existence of music, even while building his career. When asked what advice he would give to young people who want to start a band or make music their profession, Shiren replied like this.

Shiren: First, make music that people want to listen to. But that doesn't mean trying to sell something. So, what should I do to create it? It's about making music that I think is 100% good. I'm still basing it on my high school days, thinking, "I want to make a song that high school me would think is seriously cool!" If I can do that, it should resonate with people who share the same hobbies as me at least. Trying to put in pop melodies to sell well or half-heartedly thinking about it doesn't make sense at all. Especially now, it's a "everyone is a total enthusiast" era where everyone can go looking for what they like. I think Unlucky Morpheus resonates with people who share the same hobbies as me because I put all my hobbies into it. So after making such a song, I think it's important to think about where the chances are for people with the same hobbies to listen to it, and where the high school kids like me are. I think it's important to make efforts to go to such environments and have those people discover your music.

He pursues the music he wants to play without any falsehoods, and that ability to convey it to others makes him a musician. That's what people call "genuine". The music created by such "genuine" individuals will surely continue to liven up the music scene more vigorously than ever before. Shiren and Unlucky Morpheus are looking forward to what kind of presence they will become in Japan's music scene in the future.

Epilogue

Conversations with people who love music are always interesting. There's no room for entering into genres or detailed styles of music; it's just enough to think of "music" as a precious existence. That's what I thought when writing Mr. Shiren's article this time. I don't particularly like classical music, nor have I been deeply involved in melodic speed metal. However, I fully understand what Mr. Shiren has gained from and felt from that music. Simply put, I wondered if the quality and intensity of excitement derived from music, whether given by ANGRA or SLAYER, didn't really change that much. Therefore, the episode at ANGRA's live performance that Mr. Shiren spoke about in the final chapter was something I could really empathize with. Also, although not written in this chapter, he mentioned that the professional mahjong league, "M-League," which he loves so much, was launched in 2018. It was a significant event for him to see the culture of "mahjong," which had previously been considered an underground image, being recognized as a national culture like sports or shogi. And it seems that Mr. Shiren wants to use the excitement that M-League has given him to give people through his music. Even in a metal band active in Japan's indie label scene, it would be great if fans of Unlucky Morpheus could share the surprise and joy of this. He seems to want to keep moving Unlucky Morpheus more vigorously than ever before. As mentioned in this chapter, I think Mr. Shiren is a truly positive person. Instead of "things I can't do," he always focuses on "things I can do," finds possibilities, and practices them. That's the impression I received from Mr. Shiren this time, and the biggest thing I learned from him. I'm sure that such a mindset will be remembered throughout my life, and it's an attitude I want to keep holding onto. I really want to thank Mr. Shiren for giving me such a great "learning" experience this time. I believe in the infinite possibilities of this intense human visit and hope to continue writing long articles of over 30,000 words.

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2020/8/10 YU-TO SUGANO

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