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akkivee · 10 months

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there was an interview with the bat seiyuu in this magazine and i finally sat down to read it (almost two months after its release *wheezes*) and here were the highlights!!!!

it’s basically the whole thing so buckle in lol

upon being asked how they felt about bat’s anime debut, all three of them revealed they were certain they would have had a last episode cameo LOL

sakakihara-san even gave us what he thought the dialogue would be lmao so there was a lot of disappointment when they were told only rei was making a s1 appearance

needless to say, they are very happy bat’s now in rhyme anima lol

they were asked how their impressions of the characters has shifted over the years!!!

hayama-san responded when he first played kuukou, he got the sense he was a massive brat lol but that bad attitude of his stemmed from his understanding of the world. kuukou’s mellowed as the story progressed and had him experience more, eg establishing his teacher-pupil relationship with jyushi, and now understands how to navigate others weaknesses with tolerance and warmth

he’s still childish and still has a high perception of the world and that clash is where kuukou’s energy stems from. he’s at a crossroads between youth and maturity so to say

hayama recalls recording for kuukou’s first radio where he was a lot more mature, and then moving to chaser from the past, the track where he invades fragrance, and how hard it was adjusting mentalities LOL

harmonious cooperation really drove home for hayama-san that kuukou was the sun tho!!!!

that strength and energy that opens and paves the way is how sakakihara-san and takeuchi-san can tell he’s the leader

on that note, hayama-san mentions he’s never seen kuukou’s weaknesses. compared to jyushi and hitoya, we know next to nothing about kuukou’s past besides that he reached a point higher in his asceticism than his father and hopes to see everything leading up to it someday

for sakakihara-san, he was told jyushi was a crybaby and assumed he was a weak person. but once he learned about jyushi’s past, he realised that even tho he does cry, he’s still able to assert his feelings and doesn’t back down from anything, so jyushi actually has a very strong heart

jyushi sings in moonlight shadow, ‘i bask in the spotlight’s growing brilliance, in seizing a mic, anyone can become a hero’ and with that lyric, sakakihara-san understood jyushi may have a very tragic past but there’s a very strong flame burning inside him and he’s able to illuminate others with that light

bat’s come a long way and sakakihara-san finds comfort that jyushi’s around people who can laugh and joke around with him and will continue to strengthen his heart with them

takeuchi-san says jyushi is blessed to have so many good people around him, including his band members, which triggers sakakihara-san to start thanking the both of them, esp after takeuchi-san mentions it was hitoya who introduced kuukou and jyushi to each other lmao

and speaking of hitoya!!!! takeuchi-san felt he’s been mature since the beginning and thinks it’s cool that he talks to kuukou and jyushi like they’re equals. but he likes to compete against them sometimes so he’s got a very childish side to him lol

lately, hitoya’s dark and sordid past, his childhood hobbies, have been targeted as a joke and takeuchi-san is absolutely amused by it lmao

hayama-san brings up ‘amaguni the magic king’ and ‘amaguni moon’ from arb and takeuchi feels hitoya’s being bullied a bit lol but it adds to his charm!!!!

when it comes to dubbing the anime versus the drama tracks, all three of them are cognisant of pacing

in the drama tracks, for example, when jyushi is in vkei mode, sakakihara-san is allowed to take his time to croon out his flowery words but in the anime he does have to fit everything he says in a set amount of time

now that he has pictures and movements to match, sakakihara-san was trying to make those words flow with what jyushi does, rather than what he imagines jyushi does by nature of the drama tracks, while maintaining the vibe of what jyushi’s saying. there was some trial and error involved trying to get it right

it’s the same for takeuchi-san and he appreciates getting to see hitoya’s hand movements as he does his two thing bit lol

they were then asked if there was any directorial direction that stood out to them and they didn’t really receive any!!! takeuchi-san commented there were more cases where staff consulted them about their characters

the interviewer said it’s probably because the characters are embedded into them by this point but hayama-san laughingly thinks they still have a long way to go before they can say that lol

he says this but follows up with, it does make him happy that when he’s reading something and questions if this is something kuukou would do; it means he has a good understanding of kuukou as a character

they start talking about episode three!!!! the episode exists as ‘the strawberry episode’ in hayama-san’s head LOL

hayama-san is happy to see kuukou interacting with the locals (and loves that the old ladies call him ‘kuu-chan’ lol) and takeuchi-san comments it’s neat that they all spoke with nagoya accents!!! bat doesn’t really speak with the nagoya accent and it’s also very rare for anime to have characters that do, so that makes him happy as someone who grew up in aichi prefecture

sakakihara-san liked how so many of bat’s charms and elements were condensed into one episode!!! with jyushi, tho he was being picked on by the antagonists, he liked how the episode highlighted the trials jyushi’s gone thru to make him strong enough to lend a helping hand to belial

hayama-san comments that ever since the battle between bat and mtr, he thinks bat’s appeal is that, just as we witnessed with jyushi and belial, they take your hand and pull you up when you’re at your lowest to give you the strength to stand up on your own

whether it’s the hand that’s offered or the hand that receives it, they are joined and will walk as equals and as friends. bad ass temple guides others by building relationships with them, hayama-san said

the interviewer was particularly charmed by hitoya telling jyushi ‘friends you make when you’re young stick with you whole your life’ and so was takeuchi-san. he feels hitoya mentioned this because of his relationship with jakurai, with all its turbulence they’ve still come back to together

the interviewer then brought up ichiro and kuukou’s past as naughty busters!! hayama-san said kuukou’s relationship with ichiro is something that’s been forged stronger than what he has with jyushi and hitoya so there’s a lot of trust kuukou places in ichiro. takeuchi-san said they have the kind of vibe where because they’re former teammates, they can understand each other without saying anything and hayama-san agrees

hayama-san feels mcd and nb have a similar connection and when the four of them got together, ichiro and kuukou kinda had their own little bubble. the interviewer thought ichiro and kuukou’s conversation, where kuukou asked why didn’t ichiro call him and ichiro’s asking if he really needed to (and ofc he didn’t) had that atmosphere and that conversation honestly made hayama-san swoon with how smooth and natural it was lol

when asked about their thoughts about sanity, the insert rap, hayama-san initially felt it was similar to rip but that opinion changed after listening to the demo. sanity, to him, felt similar to a division all stars song where he doesn’t sing in kuukou’s style in order to bring out the harmony of the song. sakakihara-san also takes in account to how much of jyushi’s vkei style he should put in songs like division all stars songs

takeuchi-san also found himself considering the harmony in sanity and didn’t go hard on the volume for his parts as he would with other songs

takeuchi-san feels like sanity has a very strong kuukou influence and after hayama-san listened to the whole thing, he felt excited thinking about how to maintain bat’s individualities when performing it live

next up was next stage!! all the artists who wrote for each individual team has done so in past songs and moroha’s afro, who gave us kaigen, returned for next stage. hayama-san was very happy to work with him again

the part in jyushi’s verse, where he goes ‘guided by the sky, protected by the heavens’ and onwards was a bit of a struggle for sakakihara-san to portray jyushi’s feelings like he wanted to. he kept asking for retries to get the vibe he wanted

hayama-san felt the same since kuukou’s thanks in the song isn’t something kuukou really does. kuukou’s not one to be shy or embarrassed so he did multiple takes in order to portray the warmth afro intended when writing those lyrics

takeuchi-san comments that with an artist like afro, it’s really hard to come in after listening to his demo and making his style of music work with their characters. hayama-san followed that with it’s because afro’s music is one that pierces the heart of the listener, himself included, so he’s immediately at the ready to do what he needs to in order to preserve that whilst playing kuukou, hence the multiple takes

and now rise from dead!!! it’s a song with a lot momentum, very fitting for rhyme anima!!!! that momentum is what made the song fun for takeuchi-san

sakakihara-san enjoyed getting to sing for his verses and hayama-san felt like nagoya’s part could be summed up as, kuukou bringing the breakneck speed, jyushi’s like a dance and hitoya wraps it up with a crash

the interviewer then commented it felt like the three of them got along with each other very well. but had their impressions of each other changed over the years??

hayama-san doesn’t think so but takeuchi-san Has Words About That (and hayama-san and sakakihara-san start laughing LOL)

they’ve gotten less shy around him and hayama-san teasingly tells him that’s because he’s spoiled them rotten by letting them get away with everything, with sakakihara-san chiming in, ‘papa!!💜’

naturally he wasn’t as comfortable with them when they first met, they were strangers, but as they hung out together more, he felt he could let go of walls and manners around them. this makes sakakihara-san giggle💜

hayama-san takes the time to apologise to takeuchi-san, he feels like he’s been taking it too far lately and takeuchi-san calls him a liar LOL

the interviewer asks them what they think their appeal is as performers and hayama-san and takeuchi-san both went, ‘destructive power probably????’

takeuchi-san thinks they’re like, A Lot, whenever they perform together lmao

hayama-san, from day one, has set out to destroy the atmosphere the og divisions set lmao in a breaking barriers way. takeuchi-san honestly feels like he will every time he takes stage and sakakihara-san feels the same way watching the both of them lol

takeuchi-san feels like there may be a sense of friendly rivalry between the three of them as they all try to find ways to shatter glass ceilings with every live and each of them trying to take that momentum higher

hayama-san agrees and says one way they can do that is to bring a gold sachihoko on stage like the way mtr brings palm trees out for papillon

takeuchi-san tells the interviewer hayama-san has been asking for this for a while lol

sakakihara-san also relays to the interviewer that he’s been trying to manifest this for them by speaking it into existence lmao

the interviewer laughs at them and asks about 8th live stories. sakakihara-san starts giggling and upon takeuchi-san asking why, he brings up the shinkansen pic story and hayama-san and takeuchi-san missing their cues. he is very determined to never let them live it down lmao

the interviewer finally asked for their final words!!!

takeuchi-san comments the rhyme anima story seems to be pushed along by those being controlled against their will. it’s been handled lightheartedly but will the story take a darker turn?? tune in!!!!

sakakihara-san commented tho the episodes as of now are solo division focused, there will be a time when viewers can watch and enjoy the chemical reactions that happen once the divisions start to mingle. please enjoy the story impacts all of the characters!!!

hayama-san says finally nagoya and osaka are in the anime. do look forward to seeing all 18 people come together, what conversations they’ll have, what kind of atmosphere it creates and how the characteristics of each person stands out. kuukou and ichiro have more conversations, so if you enjoy naughty busters, please look forward to it!!!

#this is vee speaking #if you made it to the end kudos but also thanks lmao #i took like an entire day with three breaks to type this whole thing out *is dying*#lol i don’t have anymore to add except do buy the magazine the bat seiyuu are playing jenga in their photos and it’s adorable 🥹🥹🥹#also the last few sections where they were all talking about each other and gassing each other up made me so happy lol #i especially enjoyed them reflecting how far their relationship has come #hayama: hmmm i don’t think anything’s changed (⬅️ the problem)#takeuchi: now you listen here— (⬅️ the victim LOL)#i enjoyed reading this but you know what would have made it better???? if i got to watch—

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cherrylng · 4 months

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Gears & Playing Analysis - Matthew Bellamy Playing Method [STYLE Series #004 - Muse (August 2010)]

Matthew Bellamy Playing Method The guitar part played by Matthew Bellamy, a dynamic driving force behind Muse's music. Unravelling the personality behind his unique and technical playing, which directly touches the listener's heart. Score and commentary by Yugo Yokoyama

Here we analyse Matthew's guitar playing, which is at the heart of Muse's songs. The three themes are ‘single-note riffs’, ‘backing with chord tones’ and ‘tricky playing’. We will reveal what kind of playing Matthew is good at and what kind of thinking goes into the construction of his phrases based on these three themes. The hand photos in the magazine are Matthew's own. We used the photos taken when we interviewed him at the time of the release of his first album.

P-1: The 3f on the 6th string is pressed with the index finger, not the thumb. The 5f on the first string is pressed with the little finger.

Riff playing that gives the impression of chord progression even in single-note lines

Ex-1 and Ex-2 are played in the style of ‘Supermassive Black Hole’. Both are simple plays based on single-note lines. Ex-1 is particularly simple, with the exception of bar 5, where only two notes appear: the open E on the 6th string and the G on the 5th string 10f! The rhythm is the key to victory. The game is therefore rhythm. It is important to stop the sustain of the note played just before the rest, and to ‘rest’ the rest note firmly. Ex-3, which follows the same single-note riff, is played as a shuffle. It can be described as orthodox blues-rock type playing, but it is important to note that despite the single-note riff, the line is a line that gives the impression of a solid chord progression. The next tune, Ex-4, is played with a pedal on the open E of the sixth string. It is quite unusual for Matthew to play only on the sixth string, even in a range like the second half of bar 4. Also, in [10f12f] and [10f→9 f] [ 9f8f], he seems to be playing with full picking, although hammering and plucking could be used. This style of playing seems to be Matthew's characteristic. Ex-5, reminiscent of Jimi Hendrix's ‘Foxy Lady’, which Matthew cites as one of his favourites, is surprisingly played with a single note line. It should be noted that, like Ex-3, Ex-5 is also played with a chord progression, although it is single-note. The key to the playing is the open six-string on the back sixteenth note. The trick is not to play this note too clearly, but to pick it lightly, just to the extent that you feel it. Incidentally, the sixth string is pressed by the index finger, not the thumb (P-1).

Ex-6 to 9 are also played in riffs, utilising drop-D tuning. Again, it is the positioning that is noteworthy. For example, in Ex-7 and Ex-8, the key point is that, as in Ex-4, only the sixth string is used. Ex-8 is, let's say, a drop D version of Ex-4, so it's not hard to understand, but I think it would definitely be easier to play the second bar of Ex-7 using the fifth string. Be that as it may, it is also worth noting that bars 1-4 of Ex-7 are also played to give the impression of a chord progression, despite being single-note lines. In this case, it is a natural arrangement as it is played in a bassline style, but considering the examples of Ex-3 and Ex-5, this tendency may be a characteristic of Matthew's riffs. The following Ex-9 is more about the octave playing in bars 7-8 than the drop D. The same can be said of Ex-10, which follows, but the trick to playing these parts is to place the extra middle & ring fingers on the strings and mute the extra strings.

Backing playing that cleverly utilises some of the chord tones.

Ex-11 is chord cutting using the voicing of the first three strings. However, this is a relatively rare play, as Matthew does not often make backing plays that use simple chords like this. Instead, Matthew often uses playing with chords in the third degree. Ex-12 (P-26) is a good example of this. The technique of building up the backing while cleverly using third degree chords as part of the chord, such as [2 string 10f & 3 string 11f] and [2 string 14f & 3 string 14f] on F#m, is one of Matthew's specialities. The method of string pressing in Ex-12 is also noteworthy. He does not use his index finger at all. As can be seen in P-2 to P-6, Matthew makes extensive use of the mute method, in which he crawls his index finger over the strings to prevent noise from adjacent strings.

P-2: Middle finger on the second string 10f, ring finger on the third string 11f. Note the extra index finger. P-3: The second string, 14f, is pressed with the little finger and the third string, 14f, with the ring finger. Mute the extra string with the index finger. P-4: P-2 moved parallel on the 2f. The index finger is also used to mute the extra string. P-5: Middle finger on the second string 9f, ring finger on the third string 10f. The form is a parallel shift of P-2 down 1f. P-6: Slide down 2f quickly from P-5. P-7: middle finger on string 2, 8f, ring finger on string 3, 9f. Note the extra index finger. P-8: From P-7, keep the ring finger in place, release the middle finger and press the second string 7f with the index finger. P-9: The second string 8f is pressed with the ring finger and the third string 8f with the middle finger. The index finger stands by on the 2nd string 7f. P-10: From P-9, keep the middle finger in position, release the ring finger and press the second string 7f with the index finger. P-11: Tremolo picking form bar 9 onwards. Note the picking position. P-12: Matthew's style is to pick with a twist of the arm from the elbow upwards, without much wrist movement. P-13: Right hand action is similar to Eddie Van Halen's Hummingbird picking form.

This is a significant feature. However, even if the index finger is used for pressing the strings, it is still possible to mute the strings sufficiently by making use of the extra finger, so it is not necessary to play with the same fingerings as he does. The following Ex-13 and 14 (P-7-13) can be seen as an application of Ex-12. These should not only follow the tablature, but also take the chord tones into account. Ex-15 is a play using chords in the sixth degree, which could also be described as an Ex-12 type of play. The reason is that the third and sixth degrees are like the front and back of the chord. The chord progression of this phrase is explained in detail on p. 104, so please refer to that. In Ex-16 to Ex-18, arpeggio backing is given. The key point is that the timing of the chord change at the start of Ex-17 is every two beats, making it difficult to recognise the arrangement as being in 3/4 time.

Ex-18 only plays two notes in the chord, but the phrase still gives the impression of a chord progression, which is typical of Matthew. Ex-19 is not an arpeggio, but it is based on the same idea as Ex-18 in that only two notes are played in the chord. The following Ex-20 is a solo development of the same line of play as Ex-19. It can be seen that arpeggios are effectively incorporated at the ends of phrases.

P-14: Pick-scratching form. The left hand is in the position shown in the picture, while muting the strings.

Tricky play with a variety of ideas.

Ex-21 is played using pick scratching. In normal pick scratching, the pick is rubbed on the strings over some long distance, but here the distance is about 1 cm. For example, if the first sixteenth note is scratched from the bridge side to the nut side, the next sixteenth note is scratched in the opposite direction, from the nut side to the bridge side… (P-14). The point is that you are rubbing a short distance back and forth in time with the rhythm. The same applies to the pick scratch in Ex-22 (P-15-17). The next one, Ex-23, is a bit tricky. The choking in bar 3 is the key point. It may be hard to tell from the score, but the choking is only on the second string, and you just pull the string downwards to avoid hitting the third string. Ex-24, on the other hand, is a much higher level. It combines right-hand tapping with left-hand trills. This alone is tricky enough, but it also involves a whammy pedal, and the pedal is depressed in time with the right hand tapping to produce a note an octave higher. The final ‘Effect Noise’ is probably the result of the guitar's built-in ‘Fuzz Factory’ oscillating. A commercially available ‘Fuzz Factory’ would have a similar effect by turning the ‘Stab’ knob.

P-15: Octave form with index finger on 5th string 5f and pinky on 3rd string 7f. P-16: Form of P-15 with a parallel shift of 2f down. Note how the middle finger mutes the extra string. P-17: Form of P-15 with the pinky position moved down 1f. The middle finger is also used for muting.

Translator's Notes: I honestly didn't expect that the hand pics in the article are Matt's actual hands. So that was a bit of a pleasant surprise.

#Matt Bellamy #Muse #smol meerkat #my scan #translation #STYLE Series #STYLE Series 004 #Me: God this is getting boring to translate even though I'm nearing the end of this magazine #STYLE: Hey what if we used Matthew's actual hands to demonstrate his playing method? 👀#Me: ...Okay you had me on the hands part

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