#gekirock

[ankimodaisukiq]

Unlucky Morpheus interview with Gekirock - Why Does Nobody Remember Me in This World? OP "Sekai Rinne"

Original interview:

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Finally, at long last, Unlucky Morpheus, known affectionately as Ankimo, is set to release their new single, "Sekai Rinne." The title track will serve as the opening theme for the TV anime "なぜ僕の世界を誰も覚えていないのか？(Why Does Nobody Remember Me in This World?)" starting on July 13. While known for their heavy metal sound, Ankimo is also adept at incorporating high-quality pop sensibilities, and they've long aimed to create anime songs. Here we have the dramatic and dynamic Ankimo-style anime songs, complete!

— Unlucky Morpheus is releasing their first anime tie-up single, "Sekai Rinne," which will be the opening theme for the TV anime "Why Does Nobody Remember My World?" starting on July 13. Considering the flow from their first album as Unholy Orpheus, "What is DEATH?" released in May with its strong melodic death metal influence, this new development is very intriguing. Shiren, was this an intentional move on your part?

Shiren: Yes, it was. The "What is DEATH?" album released under Unholy Orpheus was originally planned to be released together with Unlucky Morpheus's album "evolution" (released in 2022) as counterpart albums. However, due to timing, "evolution" came out first. With this new tie-up, I see "What is DEATH?" as a good contrasting work to "Sekai Rinne." I hope fans enjoy the wide range of our music.

— As you mentioned, the title track "Sekai Rinne" of this single maintains the powerful sound typical of Ankimo, while also featuring standout melodies and catchy elements characteristic of anime songs. Ankimo has previously released pop-sensible tracks like "Amaryllis" (included in "evolution"), so this isn't entirely unprecedented.

Fuki: The "evolution" album we released before was driven by its vocals throughout. Among the tracks, "Amaryllis" had a particularly anime-song-like context, and I think it resonated with fans as a track that could easily fit into an anime, both in melody and vocal tone. In that sense, "Sekai Rinne" is simply a natural outcome of the melody and singing style the song called for. However, this is our first time creating an actual anime tie-up song as Ankimo, so this marks a turning point for the band. This single is likely to reach the largest audience we've ever had, making it very significant for us.

— Since we have the opportunity, I'd like to ask the instrumental members about their feelings when this tie-up was decided.

FUMIYA: For me, it felt like "finally, the time has come." Even though we call Ankimo a metal band, within the realm of metal, we do fairly understandable things, and I think we are a good introductory metal band. We've had anime song-like tracks like Amaryllis before, so honestly, I feel like "finally."

Ogawa: I think there were probably quite a few fans of Ankimo who thought it would be great if we did an anime song someday. Of course, we ourselves had thought so for a long time, but as an indie band, it's hard to come across such opportunities. So I feel like we've finally achieved one of our goals.

Jinya: In reality, getting a tie-up without belonging to an agency and working independently is uncommon, so I feel very grateful for this opportunity, which came about through various fortunate encounters and the efforts of those around us.

Jill: I also feel "finally...!" In all our activities so far, one of my two big dreams was to have my project be responsible for an anime opening. I've been involved in anime background music through recording work before, but having the chance to do an anime opening with my own band is very exciting. Plus, I personally love anime songs. I've posted "played with cosplay" videos of songs like "Gurenge" and "Homura" (both by LiSA) from "Demon Slayer" and "Guren no Yumiya" (Linked Horizon) from "Attack on Titan" on my YouTube channel. So in that sense, I'm very honored to be directly involved in the anime world this time.

— Since it's an anime OP theme, the length is fixed at 1 minute and 30 seconds, so I think you must have been mindful of the elements unique to tie-up songs during the composition process. Shiren, what points did you particularly consider this time?

Shiren: The most important thing in making an anime song is whether it fits "Why Does Nobody Remember Me in This World?" I paid a lot of attention to how this song would resonate within the work. The primary focus was to create a song for this work, and then I thought about how to make it sound like Ankimo. 

Fuki: I also wanted to make a song that even people who don't know Ankimo would be intrigued by. And of course, I made sure to showcase the charm of vocalist Fuki.

Shiren: In terms of sound, we don't usually use digital synths that much in Ankimo. But this time, since "Why Does Nobody Remember Me in This World?" features futuristic weapons and has a fantastical world view, I used digital synth sounds to express that feeling. Although, the fantastical world view is something Ankimo is inherently good at. Regardless, I always kept in mind that it was a song for the anime. The time signature also matches the anime's length.

— Could you explain a bit more about what you mean?

Shiren: In "Sekai Rinne," the B melody has an irregular time signature, with a mix of 7/4 and 4/4 time. It fit perfectly to match the song's length. At first, I tried to match it with regular 4/4 or 3/4 time, but it didn't feel quite right. Then I thought maybe an irregular time signature would fit, and it did. The unusual B melody would not have existed if the song length wasn't fixed for an anime (laughs).

— When creating the sound, was there anything you kept in mind considering it would be aired on TV?

FUMIYA: No, the sound is the same as usual. "Sekai Rinne" isn't an overly metallic song to begin with, so the drums aren't very prominent. But I included my individuality where needed, so in that sense, I approached it with the same balance as always.

Shiren: I think I'm the only one who considered how it would sound on TV. It was the first thing to think about as the composer. During the mixing stage, I also thought about how it would sound through TV speakers. The other members focused on how to enhance the demo I presented.

FUMIYA: Exactly. Shiren composed the song with an awareness of it being an anime song, so I just made sure not to deviate from that.

Ogawa: My stance was pretty much the same, and it felt similar to when we recorded Amaryllis. I didn't particularly worry about it being on TV or an anime song.

Shiren: Since we're making music in Japan, I think we all have some understanding of what anime songs are like. Even if we're not consciously aware, there's probably an unconscious imprint. That shared understanding naturally came through in this song.

Jinya: Shiren included all the necessary elements for an anime song in the track, so I focused on delivering excellent metal play true to Ankimo. I think the significance of Ankimo doing an anime song lies in that. Many can make metal-like anime songs, but only Ankimo can deliver our unique metal in an anime song. As a player, my approach didn't change. The only difference was when the mix came up, I suggested minor adjustments to better fit an anime opening.

— Earlier, Shiren mentioned using digital synths to represent the futuristic elements of "Why Does Nobody Remember Me in This World?" Did this create any conflicts between the synth and the violin?

Jill: No, not at all (laughs). From the moment I heard the demo and saw the score, I understood what needed to be expressed in this song. I focused on playing phrases that would be easily received by listeners within the short duration of an anime song. That might have been a bit different from usual.

— Besides the sound creation process, I think the lyrics were also important for "Sekai Rinne." Did you receive any materials in advance from the other party?

Fuki: When we received this offer, I read the original light novel "Why Does Nobody Remember Me in This World?" The novel was serialized from 2017 to 2020 and is currently being serialized as a manga. The anime adaptation was based on specific parts, so I bought and read the entire original work. The lyrics were written after fully understanding the story.

— After submitting the first draft of the lyrics, did you receive any additional orders or revisions from the other party?

Fuki: There were none. I think it's fair to say that the original author approved of the lyrics.

Let's put on a truly metal live performance!

– That's amazing. Even though there are various kinds of anime songs, some lyrics don't have much to do with the original work or the anime's content. However, the fact that "Sekai Rinne" is closely aligned with the original work will surely gain the trust of fans who may not know Unlucky Morpheus. By the way, the title of the song "Sekai Rinne" is—

Fuki: "Sekai Rinne" is an important keyword that appears in the original work. Of course, the anime covers up to a certain point, so I wrote the lyrics in a way that avoided including elements that would spoil the ending or reveal too much. I often depict the stories in my head in my lyrics, and I'm good at that, so writing lyrics that reflect the original content through my filter was really fun this time.

– There are also many unique readings of the kanji in the lyrics, aren't there?

Fuki: Actually, all of them are words that appear in the original work. I used the original hiragana and katakana readings as they were. So, I think the fans of the original work, manga, and anime will feel that the lyrics are written with a proper understanding of the story.

– As a vocalist, how did you approach singing "Sekai Rinne" during the recording?

Fuki: I used all the pop and catchy elements from both my repertoire and Unlucky Morpheus's. To put it more simply, I could sing it in a cooler style, but I consciously aimed for a singing style that would be easy and appealing for anime song listeners.

– Your voice sounds graceful and expansive.

Fuki: The emotional focus of the song is higher than usual. I wanted it to be a song that would catch your attention and make you want to watch when it came on TV.

– This makes me look forward to the broadcast date. I want to watch it live on TV when the caption "Sekai Rinne" by Unlucky Morpheus appears!

Shiren: Ah, the caption is definitely a unique feature of anime songs (laughs).

Jinya: Well, these days, you can watch on various streaming services too. Even if you don't watch it live, you can enjoy it in your own style at your convenience.

Fuki: We've been talking about TV, but I'm sure many people will watch it on their smartphones or PCs. At the recent advance screening ("Why Does Nobody Remember Me in This World?" Advance Screening), many attendees said they were moved to see "Unlucky Morpheus" briefly appear in the lower right corner of the big screen at the Ikebukuro cinema (Grand Cinema Sunshine Ikebukuro).

– I hope many people discover Unlucky Morpheus through "Why Does Nobody Remember Me in This World?" and "Sekai Rinne."

Fuki: Unlucky Morpheus will be 16 years old this October, but in the early days, we even sold CDs by hand at Comiket. People who knew us back then but don't know the recent Unlucky Morpheus might think, "Unlucky Morpheus doing anime songs?" I hope "Sekai Rinne" will remind those who were aware of our doujin activities and think, "Unlucky Morpheus is still around?" (laughs). It's not a negative thing at all. I'm very happy to have people who have known Unlucky Morpheus for a long time. I hope both metal fans and non-metal fans will be surprised and delighted by this.

– By the way, the single also includes a coupling song, "Ready for a new stage," which seems to be a track that metal fans will love. It feels like a classic melodic speed metal tune that is typical of Unlucky Morpheus.

Shiren: Since "Sekai Rinne" is a bit unusual for Unlucky Morpheus and represents new ground for us, we wanted to offer something contrasting as the coupling track. When bands make their major debut, they often get criticized for changing to a more commercial sound (laughs). If anyone feels uneasy after hearing "Sekai Rinne," I'd like them to listen to "Ready for a New Stage." If "Sekai Rinne" was made entirely for the anime, this one was made purely for Unlucky Morpheus, delivering ultra-classic melodic speed metal.

Jinya: Metal fans can rest assured (laughs). If Unlucky Morpheus released this as a single, this song might have been the title track.

Shiren: People who have known Unlucky Morpheus for a long time and listen to this single after a while might think, "Oh, this is the kind of music they're doing now" with "Sekai Rinne," but then with "Ready for a New Stage," they might feel, "Nothing's changed! They're still evolving!" which would be ideal.

FUMIYA: The drumming is explosive on this one. I went all out.

Ogawa: The recording schedule was quite tight, but since it's a song that showcases our strengths, we managed to pull it off.

– I'm delighted to hear a violin solo in "Ready for a New Stage."

Jill: The overall song is classic and straightforward, but I felt a bit of a mysterious vibe, so I played the violin solo with a slightly Arabian nuance in mind.

– Each part has a spotlight during the interlude, making it a very satisfying song to listen to.

Shiren: For those who are hearing Unlucky Morpheus for the first time with this single, "Ready for a New Stage" will likely be the second song they hear. I wanted the violin solo to stand out against the other parts playing classic metal sounds, showcasing the unique character of the violin. If you think of the structure as introduction, development, turn, and conclusion, the turn is the violin solo.

– Regarding the lyrics of "Ready for a new stage," Fuki, you mentioned earlier that this single is a turning point for the band. In that sense, "new stage" seems to refer to the future beyond this turning point.

Fuki: Yes, that's the feeling I put into the lyrics of "Ready for a new stage." Additionally, this song is connected to "Change of Generation" (from the 2012 release 'Parallelism・β'), our first original song from 2012, which conveyed our intention to carry the next generation of heavy metal. We have continued to cherish and perform it as a live staple. "Ready for a new stage" is a 2024 answer song to "Change of Generation." It also conveys the message that even if anyone is worried about Unlucky Morpheus doing anime songs, they needn't be because we will continue to evolve and show you the "new stage = next world" you love about Unlucky Morpheus.

– Both "Sekai Rinne" and "Ready for a new stage" have different colors but proudly carry Unlucky Morpheus's spirit.

Fuki: I'd be very happy if you feel that way!

– When can we expect to hear these new songs live?

Shiren: We're currently on a one-man tour ("Unlucky Morpheus 15th Anniversary Live Tour 'REINCARNATION'"), and we'll start performing the new songs around August. The first performance will likely be in Kanazawa on the 3rd. The tour will continue intermittently until November, so we hope both long-time fans and those who discovered us through "Sekai Rinne" will come to our shows.

Fuki: Speaking of live shows, we're holding a "Rowdy Only Live" at Kichijoji CLUB SEATA on October 14, the day after Unlucky Morpheus's anniversary on October 13.

– That's quite an intriguing live title.

Shiren: In the past, Unlucky Morpheus used to have really chaotic live shows, but with our fanbase now consisting of all ages and the COVID-19 pandemic, we haven't had such chaotic shows for a long time. However, aside from wanting everyone to see us, I also believe that live shows are all about going wild, so this time we decided to clearly announce a "Rowdy Only Live." Let's put on a truly metal live performance!

– That's the spirit.

Shiren: When I saw CHILDREN OF BODOM live at SHIBUYA-AX, I was deeply impressed by the chaotic floor, and it has influenced me greatly. It's not about getting hurt, but I want everyone to experience the fun of going wild, screaming, and enjoying the show. The ticket sales page even has a pop-up asking if you're okay with a rowdy live show before you apply (laughs).

– I think it's wonderful for Unlucky Morpheus, a band that prides itself on being an entry point to metal, to actively promote the joy of experiencing metal live.

Shiren: It's not about getting hurt. Let's all enjoy the fun of going wild and crazy!

[kusokurae69]

2022.10.09 ＠日比谷公園大音楽堂

📷 - gekirock.com

[tsuminiochiiru]

Win KISHOW's Autograph

【フォロー＆RPで応募】#KISHOW from #GRANRODEO 直筆サイン入りポスター＋色紙プレゼント！声優界の異端児が色鮮やかな楽曲たちを自分色に染め上げるソロ・アルバム『#深夜零時』に迫ったインタビュー＆動画メッセージ公開！【8/9まで何度でも応募可】#RoadtoG20thhttps://t.co/nNNbdUQCCa pic.twitter.com/sLt22VnaSc— 激ロック (@gekirock) July 26, 2024 Follow the Gekirock Twitter feed and retweet this tweet for a chance at KISHOW’s autograph. Deadline is 08/09.

[b3crew]

Duck Amuck in Japan: Episode 14 | Beneath the Torii Gates of Kyoto | B3crew.com

Visions of Dr. Mario run through King Baby Duck's head, as he and JonStar chat about the other Tetris clones that they could be champions of. But of course, this is not what this episode of Duck Amuck in Japan is about! No, like AFLM years back, KBD got to experience what Kyoto had to offer! From Shinto shrines to cherry blossom trees, our host takes in the beauty of this Japan prefecture. And that's not all, as we get a report on Universal Studios Japan, and which ride might be the most overrated currently! Plus, hoarding mac & cheese, a wild DJ party, and the end of Funimation leaves no more of the anime licensors from the crew's youth!

[priscirat]

mygos

[aois-amaterasu-painting]

Gekirock Live Report - 2024.05.27 Toyosu PIT

Regarding death. And regarding life as well. Through their 22 years of activity up to this point, the GazettE can be said to be a band that has consistently portrayed views on life and death, depicting heavy and intense soundscapes as well as profoundly serene scenes that are the complete opposite. Looking back now, when the album 'DIM' was released in 2009, RUKI (Vo) said in an interview, "We created this album based on the premise of not escaping from anything, including the weight of death and the realities that happen every day." Yes, the GazettE has always been a band that chooses not to escape.

REITA (Ba) suddenly passed away on April 15th, leaving behind a post on social media expressing his wish for "the GazettE to be eternal." The next day, the official website announced the news, and the day after that, RUKI, Uruha (Gt), Aoi (Gt), and Kai (Dr) sent a message to their fans. Just 10 days later, on April 25th, they announced a memorial concert, "HERESY LIMITED 'SIX GUN'S'," to be held at Toyosu PIT on May 27th, REITA's birthday. Their swift response was not an act of escape from the immediate events, but rather the result of facing REITA head-on without even taking time to grieve. (By the way, "SIX GUN'S" refers to the five members and the fans as the sixth member, a phrase used previously as a live title.)

"The usual way of the GazettE's live shows is a place where everyone can let go of their feelings of helplessness and pain from their daily lives. That's what our live shows are about. So today, it's okay for you to cry or go wild. We, all the members, will accept all of your emotions, carry them, and lead you with all our might. That's the resolve with which I sing...!" (RUKI)

First, the concert opened with "LAST SONG," which includes the lyrics "You taught me all the reasons for me to keep living." During "TOMORROW NEVER DIES," RUKI repeatedly looked up at the stage ceiling while singing the lyrics "Can you hear me?" The song "Chijou (痴情)," which REITA publicly stated as one of his favorites, was firmly included in the setlist. In "Hyena," REITA's shouts resonated throughout the venue from the pre-recorded audio as usual. During "Miseinen," RUKI shouted loudly, "On Bass, REITA!" before the bass solo, which was met with applause from the audience. In "Shunsetsu no Koro," during the customary scene where all members except Kai gather at the front of the stage in the latter half of the song, Aoi kept a space for REITA. There are countless examples to mention, but it can be said that tonight's live performance was a memorial for REITA, yet it was filled with moments where REITA's presence was undeniably felt.

"Let me say something that we have all agreed upon as a band. From now on, the GazettE will not have any bassist other than REITA. We will never stop using REITA's sound from our past live recordings, and even for new works, we will continue to use REITA's bass and equipment to the fullest extent, respecting his wishes," (RUKI). After these words, they announced that they would perform again at Toyosu PIT on September 12th, and the last song they played was "UNFINISHED." The lyrics "I want to show you the future" can also be seen as the collective intention of the GazettE. Long live the GazettE.

[patchimlikit]

(Commission) Gekirock AnoTaki

[hakonohanayome]

D4DJ x GEKIROCK CLOTHING

[candypalace]

Translation: Gekirock Magazine Dec 2022 (Kai, Uruha)

the GazettE: the band's potential in a flawless expression. 20th anniversary best-of album drop.

Time flies, and in the course of 20 years, the GazettE has gone through a lot of changes. Their new release, 20TH ANNIVERSARY BEST ALBUM HETERODOXY -DIVIDED CONCEPTS-, is a “best-of” album categorized by three concepts: "SINGLES", "ABYSS" and "LUCY". The band is also taking the opportunity to confront their past albums during [the GazettE LIVE TOUR2022-MASS/PHASE 02 "The Unknown"], which will continue until December 21st. Here, we will ask a few questions to Uruha and Kai, the guitarist and drummer of the GazettE, about the circumstances behind revisiting and bringing the band’s past together.

ー the GazettE is currently celebrating its 20th anniversary in the midst of the Japan tour MASS / PHASE 02, where in addition to the songs from the latest album MASS (2021 release), past songs are also performed at various venues. Uruha-san, Kai-san, how do you feel about performing at all those shows so far?

KAI: Rather than saying that the reason why the contents of this tour are a close look into our past is because this year is our 20th anniversary, it’d say it’s because MASS is our 10th album, and we’ve been playing shows in different places to combine it with our past works. It’s also because we have not done a tour with a concept like this before, to tell the truth, and it started with us thinking: “Well, this will be interesting!”. Since some of the songs from past albums will be performed live for the first time in forever, it’s also true that the performance aspect was more difficult than I had expected (laughs). However, when we actually tried it, the results were pretty good! We found the differences in the set lists each time very interesting and enjoyed every single live so far.

URUHA: Each album naturally has a different “color”, so when we combine our newest album with songs from our older albums in one show, it’s very important for us to highlight these different “colors”. That being said, the number of albums we’ve released so far is quite big. Realistically, it would be difficult to play every single song in our discography, so we generally play about five songs for each concept. And yet, by playing those five songs at each live show, we’ve been able to create an atmosphere and space on the tour that we haven’t had before. I think there’s a great synergy between the songs on MASS and the songs from each of our past albums.

ー By the way, why did you decide that you will be choosing exactly 5 songs for each live performance?

KAI: When we were discussing this with the members, someone suggested that we exclude the songs that we already had on MASS / PHASE 01. And we also thought we should play songs that express the essence of each album more vibrantly than others.

URUHA: In terms of the melody, we also decided to avoid choosing only those songs where singing is emphasized over the instrumental part, and we tried to balance each block of the set list.

ー In the midst of all this, HETERODOXY will be released to commemorate the band's 20th anniversary, and as you can tell from the title, it is a voluminous three-piece product. It seems that “3 CONCEPTS” means that the songs are categorized as “SINGLES”, “ABYSS”, and “LUCY” and are divided into 3 discs. How did you come up with such a compilation that condenses 20 years of the band in this best-of album?

KAI: I think the fact that best-of albums naturally start with singles is definitely not unusual. But in our case, this alone would not exactly strike home. Doesn’t “best” for the GazettE mean showing all our colors in various forms? With that in mind, we decided to divide the songs into three separate discs: "SINGLES", "ABYSS" and "LUCY". "ABYSS" and "LUCY" in particular have a very familiar ring to them and give you a taste of our two extremes.

URUHA: Right, because for the GazettE, "ABYSS" and "LUCY" mean the duality that has been our definite part since forever.

ー Looking back, in 2011, there was a FC-only 2-day live "LIVE TOUR 2011 TWO CONCEPT NIGHTS ABYSS/LUCY ~Two different faces, decadence and instinct, two polar nights~" and in 2017, Halloween shows called "HALLOWEEN NIGHT 17 THE DARK HORROR SHOW SPOOKY BOX 2 ABYSS-LUCY". So, probably the fact that the keywords "ABYSS" and "LUCY" express stillness and movement is already well known to the GazettE’s fans.

URUHA: In terms of sound differences, generally "ABYSS" is centered on the dark worldview that the GazettE creates, while "LUCY" is more aggressive. Both sides are the essential components of the GazettE, and we wanted to convey that in our best-of album.

ー So HETERODOXY is a flawless selection of songs that combines the catchiness and pop sensibility of the singles with the darkness and intensity at the heart of the GazettE.

URUHA: Yes, exactly (laughs). 

KAI: I guess you could say that it is as "flawless" as it can get (laughs).

"If I didn’t have a strong mentality, it wouldn’t be surprising if I shattered over and over again"

ー The hardest thing must have been choosing entries for "ABYSS" and "LUCY".

URUHA: We had an online meeting with the members about that. We put the songs on a spreadsheet and discussed it like “ahh, right, mmm, maybe this”. I think it felt close to how we decide on a live set list.

KAI: At that time, when we listened to some songs again, we thought, “Is it really so that an intense song = a “LUCY” song?”. Even for “ABYSS”, it doesn’t necessarily mean that if a song is a ballad it’ll be included there. For some of them, there were specific comments such as, “Isn't it too beautiful a song to be included in "ABYSS"?". So the entries for this best-of album were selected not only by their melody, but also by considering the deeper meaning and characteristics of each song.

ー It seems that this best-of album project also involves remastering, so considering that different ages of production had to be put into a single album according to its concept, was there anything that you had to order the band to do?

URUHA: What we mainly focused on was the length of time. This time we were not looking for any particular change in sound quality, and we only made some adjustments to the sound level when all the songs were laid out on each disc, based on our current sensibilities. We didn’t consciously change the songs just because they’re old.

KAI: This time probably all the members were thinking in the same way, and I didn’t really have to say anything. We simply adjusted the acoustic pressure so that no piece feels out of place when you listen to the disc.

ー So when you listened to HETERODOXY after the remastering, did you notice anything that made you realize that you have grown or changed?

URUHA: Huh, did I... When we’re playing songs from the past on the current tour, I feel that how I’m producing the sound is different between now and the past, so there’s no doubt that the quality in all aspects is now better than it was. Of course, that was the best we could do back then, but I can feel the change.

KAI: When I listen to it, I also feel “Oh, this kind of phrase was very characteristic of me at that time,” or “Oh, so this is the kind of sound I used to make at that time”. In the end, I have always aimed to surpass my past self, and when I look back on my work, I can clearly see that trajectory in the sound.

URUHA: It depends on the song, but I feel that the guitars used to be more clunky in the past (laughs). As time goes by, I definitely feel that the band is becoming more harmonious in terms of sound!

KAI: Really, in our early days, we didn’t even do any pre-production before recording. Back then, I often didn't know what the other members were going to play when we were recording the drums (laughs). I think the biggest change was that from a certain point on, I learned how to properly grasp the composer's intentions while also understanding what everyone else was doing and coming up with my own sound.

URUHA: Even though we have our own ideas about what we want to do, the GazettE’s current style is to produce sound while complexly looking at the whole picture from the listener’s perspective of how cohesive we are as a band. I think over the past 20 years the GazettE has gradually learned that sometimes it’s important to cut out unnecessary things.

ー To put it simply, even just comparing DIM (2009 release), which had a particularly dense sound, and your latest release, MASS, you can tell that the sound is very different, right?

URUHA: If we go further back to NIL (2006 release) or STACKED RUBBISH (2007 release), in retrospect it feels that the combination between guitars is “hard to see”. Solos and other interactions are fine, but I feel that there were unexpectedly many small places on the underside where we conflicted.

ー Can I now ask Kai-san, as the drummer of the GazettE, what is your greatest weapon at the moment? 

KAI: It’s difficult to explain in words, but first and foremost, it’s the fact that I’m in a position to create a sense of dynamics in the band's sound. I think this is the role I was meant to take on. Our basic style right now is that the melody, lyrics, and the so-called emotional parts of a song are left to other parts of the band, and I’m in the background supporting them and bringing out the dynamics.

ー Uruha-san, same question for you. What is your greatest weapon as a guitarist of the GazettE?

URUHA: It’s satisfying that the more I pursue the way I use physical equipment, the playing method and technique, the more interesting they become and the more my skill grows, but I feel like it’s not the most important thing here. What I personally want to polish is my sensitivity, and I think it would be ideal if I could use that as a weapon.

ー So it seems that the members have been diligently working on themselves over the past 20 years. If there was anything you have been able to "obtain" in these 20 years, what is it? I am sure the list of those things is long, but I would like you to focus on just one.

URUHA: A strong mentality, I think. It’s something I’ve been able to obtain only because I’ve been in a band for 20 years. If I didn’t have it, it wouldn’t be surprising if I shattered over and over again (laughs). There were a lot of times when I refused to give up.

KAI: To be honest, I’m glad that we became a band where the members are able to discuss things properly with each other. If we didn’t, I think we would have disbanded by now. Discussing solutions to problems is one thing, but in our case, even when something generally bad happens, the five of us complain to each other (laughs). So I think our strength lies in being able to share and confront things together.

ー Were there times when you sublimed the frustration by turning it into a song?

KAI: There definitely were. That's what I call having a strong emotional strength (laughs).

URUHA: In a way, that’s because we are a rock band. Like, if something pisses you off, you turn it into sound. I think that has always been in the foundation of the GazettE.

ー Ah, the fact that HETERODOXY is now being released to celebrate the 20th anniversary of the GazettE makes me deeply emotional.

KAI: When you listen to our best songs, I think you can cover the GazettE's past and present at a glance.

URUHA: This is without a doubt a package that will show different people what kind of band the GazettE has come to be over the past 20 years.

ー I can understand that! Finally, please tell us about the GazettE's vision for the year 2023 and the future.

KAI: With the release of our 10th album, MASS, and the band’s 20th anniversary, we have reached a lot of milestones recently. Even though there have been some irregularities because of corona, I think that from 2023 on there won’t be any more special topics in various aspects. For the GazettE, 2023 is the year when we’ll return to our usual business, and our fans may be wondering, “What are you going to do after the 20th anniversary?”. I think we’re entering a period where we need to show our fundamental strength as a band. We want to continue our activities so that everyone can feel what the GazettE is all about, cherish what we’ve been protecting, and challenge ourselves with new things.

URUHA: I think that the process of revisiting past songs live and releasing the best-of album in honor of our 20th anniversary gave us a good impulse for the coming year and beyond. When we faced our past again, we were able to reconfirm and gain a deeper understanding of who we as the GazettE are, and now we are well-prepared to create something new from this point on. Looking forward to moving on to the next project!

[joonas-curls]

Blind Channel - Gekirock

The new heroes of the rock scene taking Europe by storm is the six-piece group nicknamed the Finnish Linkin Park, Blind Channel. They just made their Japanese debut last December with their album "Lifestyle of the Sick & Dangerous" , their new song "Flatline" is already available on all streaming services! They also released a choreographed music video in which the right arm is parallel and pressed against the chest to represent a flatline. This choreographed music video is said to be the first of its kind by a metal band; it had become a topic on TikTok and elsewhere.

 “This is the beginning of the next chapter of our career. The energy of last year's 130 performances is captured in the song 'Flatline'. And, we added a Berlin rave full of red lights and hardcore partying.This song was written with the songwriter duo BLYNE (David Guetta, Robin Schulz etc.), it’s one of the heaviest tracks we have produced so far. So, this song is very unique right from the start.If you’re fed up with the ups and downs, this song might help you”, says Blind Channel.

 Blind Channel will take this song with them to their European tour, starting on March 1 in Stockholm, Sweden.

[2015mai24]

GEKIROCK CLOTHING@RTプレゼント開催中！ on Twitter: "MUCC SATOち着用画像公開！ 【予約商品】 MUCC×KAVANE Clothing×ゲキ

[omens-and-more]

Interview link??

Someone linked it in the of the posts from earlier on here. Maybe the blog owner can link it. But it’s on the gekirock site.

[tsuminiochiiru]

Gekirock interview

KISHOW from GRANRODEOのインタビュー＆動画メッセージ公開！声優界の異端児が、変幻自在のヴォーカルで色鮮やかな楽曲たちを自分色に染め上げるソロ・アルバム『深夜零時』をリリース！#KISHOW #GRANRODEO #深夜零時 #RoadtoG20thhttps://t.co/nNNbdUQCCahttps://t.co/Y8S2RzcaCU pic.twitter.com/ehxnaP92dA— 激ロック (@gekirock) July 26, 2024 Watch the interview here:

[135481403135481403]

激ロック @gekirock 2024/06/17(月) 14:02:00 "LuckyFes'24"、タイムテーブル発表！高橋 優、藤巻亮太ら加え総勢110組のアーティストが集結！ https://gekirock.com/news/2024/06/luckyfes24_timetable.php

#LuckyFes

https://x.com/gekirock/status/1802567349847122048

[hide10com]

お澄まし顔のサスケくん(2024年2月13日の写真日記)

お澄まし顔のサスケくん。慌てて撮ったので手とお尻が切れてる。 出社したらなんだかザワザワ。なんだろ?と思ったら部署内で4人もコロナが出たらしい。第10波が来てると聞いてはいたが、身近に迫ってるな。 一緒に作業してる別部署のメンバーもコロナ。そんな時に限って急ぎの仕事が降ってきて、慣れない仕事をこなしたのでドッと疲れた。 夕食。奥さんが生姜焼きを作ってくれました。スマホ版のLightroomカメラで撮って現像しました。 POLYPHIA、5月に来日公演が決定！東阪にて単独公演開催、さいたまスーパーアリーナ"FOX_FEST"にも出演！ https://t.co/i1tjxX54wl#POLYPHIA pic.twitter.com/KZUOM1eOPd— 激ロック (@gekirock) February 13, 2024 さいたまスーパーアリーナで行われるFOX_FEST?!…

[nanchan83]

ulma sound junction

ROAR Music Video

Director : shun murakami(vil tokyo)

1st AC : Rio lnoue (vil tokyo)

Light Director : Syohei Nakagawa

Light AC : Taisei lshibumi / Yuki Ogawa

Hair & Make : Miyuki Namba

Costume : AlLEVIVANTES / ichigusukumode

Styling : MatSU (GEKIROCK)

Production Assistant : Takuma lnose

Producer : Satoshi lmamura

Production : THINGS. / vil tokyo

KING RECORDS