Wings of a Fallen Angel
Datenshi Feature

Ongaku to Hito
February 2020

text by Ishli Eriko, Kanemitsu Hirofumi
photographs by Chito_The Octopus
hair&make-up by Tanizaki Takayuki, Yamaji Chihiro_Fat’s Berry
styling by Shimizu Kenichi

 

2019 began with the performances of a postponed tour, the release of their single Kemonotachi no Yoru/RONDOLocus Solus Bestia (Locus Solus no Kemonotachi), a 2-day event held at Makuhari Messe, and their annual year-end THE DAY IN QUESTION which they played in 5 locations around Japan. Although BUCK-TICK more or less held back on public activities in favour of working on music production, it appears that this year, they will be making dynamic moves. 

Marking the start was the January 29 release of their single Datenshi (Fallen Angel) and the tribute album PARADE Ⅲ ~RESPECTIVE TRACKS OF BUCK-TICK~. While their 3rd tribute album serves up amazing content with a diverse line-up which includes the likes of Shiina Ringo, DIR EN GREY, BRAHMAN, and more, their new song Datenshi is even more amazing. At first listen, it comes across as a slightly digital, 8-beat rock n’ roll song, but the more you listen to it, there’s a strange alien feeling, or something prickly that unsettles and entangles the heart.

The interview confirms it. After all, Imai Hisashi is an unconventional, somewhat eccentric band member. And while talent is certainly needed to make this possible, more than that, it’s his enormous trust in the person that is Sakurai Atsushi which brings it all to life. This is where we find the reason behind the band’s ability to continue keeping things fresh even now, after more than 30 years since their formation. The year 2020, without a doubt, will be their year.

 

 

 

 

 

 

Individual Interviews

_______________________

Sakurai Atsushi

I personally also had rather intense emotional ups and downs
You could call it a mental health issue, but I became a bit of a shut-in

Interview by Ishii Eriko

 

―― First, let’s look back on the past year. After you concluded your 2018 show at Budokan, you started the year with preparations for Locus Solus Bestia, your one-man at Makuhari Messe, right?

Sakurai (S): Yes. In May. Talk about it started early on, and since we also had the keyword “beasts (獣たち / kemonotachi)”, we [decided] that we would release a single alongside the Makuhari [event]. We could already see our goal, you know? Since we weren’t holding a concert for a new album, it felt as if we were doing it just to show off the 2 songs from the single. So, although it wasn’t as if we had no pressure on us or had all the time in the world, but we did have a lot of time to think it over. The first half [of the year] was spent in meetings and all that.

―― Right.

S: And while we were doing that…… A friend of mine passed away in February. This person is someone I’ve known since our debut, who runs a bar in Kumamoto, who isn’t a woman but is one at heart. It was really sudden. We even just met at our year-end Budokan show, and time has just been passing while I’m still struggling to come to terms with the death of someone I’ve known for 30-something years…… But, well, I’m [still dealing with it] until now. I’m just stunned because it came out of nowhere. Everyone seemed rather shocked too.

―― This someone who all the members of the band were close to?

S: That’s right. In the beginning, we met when [the band] went on our first [promotional] campaign and all of us immediately got along really well. When we held concerts, they¹ would definitely attend whenever we played in Kyushu, and they’d even come to Tokyo for our shows. They were full of life at Budokan, too. So when we heard that they collapsed, we thought, “They’d be fine,” but apparently, not.

―― …… Ah.

S: Well, that happened, and after Makuhari wrapped up…… We were talking about starting work on the production of our next album, but we couldn’t really switch gears and things just fell more and more off track work-wise. The single that we finally made turned out to be these two songs, but this, too, was finished later than we originally planned.

―― Did the other members feel like they were in a stagnant state too?

S: I wonder?   I don’t think so, actually. Contrarily, I think they were able to use that time effectively for themselves. It’s just that when the year is split into approximate halves…… Mm, we were kind of out of it in the latter half of the year after Makuhari wrapped up, weren’t we? I personally also had rather intense emotional ups and downs. You could call it a mental health issue, but I became a bit of a shut-in².

―― Is it okay to publish this?

S: Yes. But it’s something I’ve been dealing with for a long time now. And there are times it’s difficult when we’re in production, but if there’s nothing going on, I’d end up thinking about things on my own and it gets really difficult. I’ve been dealing with this side of myself since a long time ago, but I would cyclically find myself in that [mood].

―― Is there a reason for this? Because during the interview right before Locus Solus, you showed us such a radiant smile and told us that you’re fine, that you’re drinking alcohol too, that you’ll be taking a good rest even though you had to be hospitalised in the middle of your previous tour.

S: Ah……… That’s true. Well, there was also the passing of that acquaintance, that friend, but……… I wonder why?   There’s nothing, is there? No reason or anything…… It’s just an empty feeling. Although there’s nothing [to cause it], I just seem to get pulled in that direction. I had to start work on our album production too, and, mm …… I had a rather long stretch of time to face myself with questions like, “What do I do next?”, didn’t I? But, well, I’m still like this even now, though. Yeah, when it’s hard, it’s hard, isn’t it?

―― Somehow, it seems as if things are heavier than ever.

S: That’s why it’s a year where there isn’t really…… much to talk about. Mm…… It doesn’t look like there’s any content, is there?

―― Kukukuku!   But I think that the Sakurai-san who gets pulled into darkness before he notices it has always been around. Although, it also feels as if the producer Sakurai-san who somehow manages to get things moving by tricking that side of him into expressing himself exists at the same time.

S: Ah, that’s a good way to put it. Perhaps it’s that producer’s work that has gotten tough (smiles).

―― And that made you stop for a bit.

S: It did. Hmm, like getting stuck in a childish, self-centered way of thinking and dwelling on thoughts like, “…… What am I?”.

―― On the other hand, do you feel better when you’ve decided on what you’ll do with BUCK-TICK and you’re busy working on it?

S: Maybe so. Maybe I’m still happier with that kind of bustle. Working on things and troubling over them; those aren’t labour pains, though. I guess you could say that it’s a different type of hardship.

―― But as far as listening to Datenshi and Luna Park went, I didn’t feel those goings-on behind the scenes at all.

S: Ah, then that’s good. I suppose it’s because this is work where I’m creating and spinning stories, so in a way, it’s still healthy. I guess I’m able to vent my emotions like this.

 

Rather than forcing myself to flaunt something that doesn’t show how I truly feel, or something that is not of my interest, I only want to sing about one thing so it’s alright even if it makes people think, “Ah, this again?”

―― When were these two songs made?

S: Um…… October?   I think it was much later than scheduled. Also, we initially had a different song, a song that was not Datenshi which was supposed to be the single. But Imai-san presented this Datenshi in our final meeting. Because it appeared that a BUCK-TICK which gives off an edgy vibe was more fitting for our present selves than a gentle BUCK-TICK.

―― Ahh, the original candidate was a more gentle type of song?

S: That’s right. That will be going into the album.

―― Datenshi is a song that sounds more like a simple rock and roll. And in it, you’ve etched the words “it aches” ³ and “I’m falling, aren’t I” ³.

S: Yes. In my mind, I’ve imagined hurting myself more and more, so I thought maybe it’s about time I let others hear it.

―― It’s the same Sakurai World we know.

S: Yes. I guess you could say that this is better than enjoying hurting people. Like, since it’s just me, I can torment myself as much as I want, and I can pull my own punches right just as I approach my limits. I don’t know about other people, but things that I can’t really speak to others about too…… There are one or two. In my heart and mind, I’m no saint. And since that’s the way it is, I feel that I should just spread these black wings of mine. I thought it’d be a good idea to spin such a story and somehow make it cool.

 

―― Is the Fallen Angel⁴ a creature which lives in Sakurai-san?

S: Yes. And it is not something that exists only in me, but also in all the ordinary people as well, dressed up the form of a human being. Vigorously expanding their desires.

―― But wasn’t it hard to write the words “I’m falling, aren’t I” when your emotions were spiralling and sinking down?

S: Ah, but well, [it was alright] because when you multiply a negative by another negative you’d end up with a positive, right? That’s how I think it is. Also, I suppose I’m fortunate that I can put out these lyrics at such a time, can vent [my feelings] on the outside, and have strangers who are willing to listen to these things for me. But for those people who are really worn out, who really can’t get out of bed…… Even just imagining it is scary for me. It’s not as if you can simply say, “It’s alright. Things will somehow work out.”

―― That’s why we need dark music too. But the other song, Luna Park is an exceptionally “pop” song, isn’t it?

S: Yeah. For this song, we’ve completely cut ourselves off from Datenshi. You can say that [this song] is our usual pattern, but like how the lyrics go, [the song is] about how it all ends so quickly when you’re having fun, like at a circus or an amusement park. It has always been like this. In short, that’s what I want [our listeners] to feel [when they hear this song].

―― But this song gives me a strong sense of, “even though I know that it’s a lie, I want to believe that forever exists”.

S: Ahh. Well, I also thought that it’d be nice if I could tell it from a child’s perspective. Because children are capable of having very pure dreams, aren’t they? I’d be glad if everyone can listen to it from that perspective.

―― Also, why did you use “we” ⁵ instead of “I” ⁵ as the subject in the song?

S: Ahh, well, I have a painting by Chagall⁶ in my room.

―― What’s the title of the painting?

S: What was it…… I don’t quite know what it’s called, though. [In the painting,] lovers are flying through the sky, in a blue sky. From that painting, the words, “By chance, we meet” came to mind, and then, the image of separation…… (Staff searched for Chagall’s painting and shows him the screen. Numerous similar blue paintings appear) Ah, it’s not this one. Neither is it this one……

―― …… I didn’t know Chagall painted so many pieces with the same motifs. I’m even getting a sense of madness from them. Do you empathise with this intuition to keep painting the same themes over and over again?

S: Yeah. I suppose you can say I like it, this feeling.

―― I don’t mean this in a negative light, but more often than not, what Sakurai-san’s lyrics say is [the same thing] in the end.

S: Yes. I think so too. After all, I believe that it’d be a sin for me to force myself to flaunt something that doesn’t show how I truly feel, or something that is not of my interest as if I’m an expert on it. There’s only one thing that I want to sing about, so it’s alright even if it makes people think, “Ah, this again?”

―― Also, the line “we are dreaming, dreaming” ⁷ in the chorus, does it hold a double meaning?

S: No?   Nothing like that in particular.

―― Ah, I see. Because, when 夢夢 (yume yume)⁷ is written in Hiragana (ゆめゆめ), won’t it’s meaning turn into “must never”, like that of its use in olden texts and stories? For example, “You must never ever look at [it].” ⁸ 

S: Yes, yes, yes. There’s that, isn’t there? That usage. Ahh…… But I didn’t associate [the word’s] meaning with Japanese aesthetics.

―― It just gets me thinking that if we apply the “must never” meaning of the word here, it carries on the secret cipher of “don’t leave” [within the song], doesn’t it?

S: That’s pretty nice. May I claim that? (Grins)

―― I’ve read too much into it, haven’t I? Although, this may be a hollow sounding statement but,  don’t you think that there’s something about the song that makes you want to say, “This is what defines BUCK-TICK’s presence.”?

S: Yeah. It may sound like empty words, but really, I hope it’s true. And, that this is [the legacy] that our music leaves behind. I, too, get that feeling that it’s there.

―― I have this impression that the resolution to continue playing with these 5 band members as BUCK-TICK has been especially strong in recent years.

S: Hmm…… I think everyone’s already resigned⁹ to it.

―― Resigned (smiles). That’s a good resignation, isn’t it?

S: I suppose it’s a good one. Mm, regarding myself too, I don’t suppose we’d be of much use if we went anywhere else anyway. After all, I’m not good at it, am I? Meeting people. …… I’m sorry, even though that’s my job.

―― No, don’t be.

S: Well, but, there’s something about meeting people and speaking to them that keeps me distracted. After all, if you let a piece of junk¹⁰ stop working, it’ll just crumble away. You have to keep it moving.

―― [It’s good, then,] as long as talking isn’t a burden for you, more than anything.

S: But, well, since my character is like this, [it can’t be helped]. Sometimes, people would call me for work, but other times, I’d be drinking and spacing out on my own, and I guess that’s just the way I am. Also, I read Discourse on Decadence¹¹.

―― By Ango¹¹? He wrote, “Let’s live, let’s fall” ¹², but does Sakurai-san understand this feeling too?

S: Ahh, but that man’s circumstances are different, aren’t they?

―― Because that was during wartime, right?

S: It was tough, wasn’t it? And that was an era when you couldn’t really help it even if you lost your mind. It’s just that…… This is probably an entirely different topic, but I’m 53, now. I previously spoke about this too, though.

―― It’s the age at which your father passed away, right?

S: Yes. And I’m probably drinking even more than my father did too. For some reason, I kept getting the feeling that I’m getting pulled [by him] throughout last year. I went back to Takasaki, my hometown the other day and I spoke about it with my older brother but he said, “You’ll be 54 soon, so just hang in there.” (Smiles). Although, it made me realise that maybe my older brother was thinking about these things too. I think for my brother, he was very much more concerned for his family, so…… What were we talking about again? I’m sorry.

 

I turned the same age as when my father passed away, and I’ve also had to bid farewell to people
It had me thinking about a lot of things. Like, “How long will I live?”, and the like

 

―― It’s alright. We were talking about the lyric, “I’m falling” ³.

S: Ahh. But there’s a part of me which was being pulled by those sort of things. There’s [the circumstance] with my father, and I’ve also had to bid farewell to people. It had me thinking about a lot of things. Like, “How long will I live?”, and the like.

―― Are these scary to you?

S: I am, scared. In the sense that I do feel fear of it, and I don’t want to be hurt too. Also, I’d hate to make things difficult for the people around me. That’s a thought that comes to mind when I look at my family too. Like, when I think about when my mother passed away, I’d believe my brother was also hit hard by it. That’s how I’ve come to think, you know? That I’d hate to bother the people around me.

―― Ahh. This is different from the feeling of, “I just want to disappear.”

S: Yes. It’s as good as end of life planning (smiles).

―― Hahahaha. So, what do you do for that?

S: …… I’ve been drinking.

―― Wahahaha.

S: With my utmost effort.

―― Good work!

S: Hahaha. Thank you!

―― I’m not sure if “falling” like this is good or not, though (smiles). But do you feel a strong intuition that 2020 will, at the very least, be better than last year?

S: I do. Mhm. I hope for it too. Well, you could attribute it to [the fact that] we’d be creating works, and also, that the whole of Japan will be doused in the colours of the Olympics…… Well, it might just be Tokyo, but I just think that it might also be good to get absorbed in something that’s got nothing to do [with my work].

―― Oh, really? Will you be watching it? The Olympics.

S: I think I probably will watch it. I suppose even I am surprisingly patriotic myself. If I watch international tournaments or things like that, I’d support [Japan] anyway.

―― I see. There’s one more thing to talk about; there’s the tribute album too. How do you feel about it?

S: Well…… It revalidated those two’s, Imai’s and Hoshino’s songs, didn’t it? Like, “Ahh, what great melodies.” It feels as if [the artists] took the songs apart and put them back together again, so I could legitimately acknowledge, “Ahh, this is what I like about this song.” 

―― So it feels as if you can listen [to your own] songs as someone else’s.

S: You’re right, really. For example, how simple and beautiful Sakamoto Miu-san made our song. I could really treat it as someone else’s song and relax and listen to it. I was able to detach myself from it completely too because it was sung by a lady.

―― The way minus(-) incorporated female vocalist, Fujikawa Chiai-san was quite admirable too, wasn’t it?

S: Yeah, since Keijijou Ryuusei is a song that I love a lot, it was lovely to hear how it sounds so ephemeral with a female voice. 

―― And your sworn brother of the heart, ISSAY-san is also taking part.

S: Yes. Der Zibet was the very first one to finish the song and send it to us. It really made me think about what wonderful seniors they are to us. And that Ai no Souretsu is…… I ended up feeling that perhaps ISSAY-san is a better fit for that song.

―― Hahahahahaha.

S: I felt a bit of jealousy over that. But there were re-discoveries for me too. Somehow, the picture of decadent¹³ nobles dancing in Rokumeikan¹⁴ came to mind. I thought, “Ah, how refined.” It was lovely.

―― What did you think of the unexpected element of BRAHMAN?

S: First off, I thought, “They’ll do it for us?” And I didn’t expect them to ICONOCLASM as their choice of song too. Before this, the first time we met was at an event in Sendai, and somehow Yuta got along really well with them. Although I’ve only met them once, I could feel their love. And each of the covers by the others were great too. I enjoyed them as well.

―― That’s great. So, following this, the album is, of course, what’s next, but how’s your work going now?

S: Not progressing. At all¹⁵.

―― Kukukuku. When do you think it will be released?

S: Around summer…… would be nice, I think.

―― Please don’t say inauspicious things (smiles). But is your present mental state rosier than last summer?

S: …… Yes. It might sound thoughtless of me to call it a distraction, but nonetheless, when a goal or a task has been decided for me, that’s where my attention will shift to after all. It becomes a little bit easier on me like that.

―― I understand. I thought that this interview was going to be one where I could say, “I’m glad you were able to get a good rest,” but instead, it turned out to be something completely different.

S: Ah, it really did. Although, when I think about the readers, maybe it would be better if I didn’t talk about these things. But I can’t lie, so… Saying, “Ah, no, I’ve been doing well,” or “I went to the beach¹⁶,” and things like that……

―― The beach¹⁶!   No one wants to hear such a voice from Sakurai-san.

S: Hahahahahahaha!

―― I hope that it’ll be a good year, 2020.

S: Yes. I hope so too.

 

 

Notes:

¹ Sakurai never specified the pronoun.

² He used the term 引きこもり (hikikomori).

³ Lyrics from Datenshi:
痛いよ (itai yo) = it aches
堕ちてゆくんだろう (ochite yukun darou) = I’m falling, aren’t I

⁴ No brackets were used for the words 堕天使 (Datenshi) here so I translated it as it is rather than used the Romaji name of the song.

⁵ 僕 (boku), the masculine-implying version of “I”, versus 僕達 (bokutachi), “we”.

⁶ Marc Chagall was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramic tapestries and fine art prints.

⁷ Lyrics from Luna Park, 僕達は夢夢 (bokutachi wa yume yume).

⁸ ゆめゆめ見てはならぬ (Yume yume mite wa naranu).

⁹ The word 観念する (kannensuru) implies that one is mentally prepared to a fate that is unchangeable. Like being “prepared for death”. Translations of it include “to be resigned to”, “to be prepared for”, “to make up one’s mind”. I went with the “resigned” version because it’s funnier anyway.

¹⁰ ポンコツ (ponkotsu) can mean something that is useless or unreliable, or “a piece of junk” along the lines of a very old machine. He meant it in a sense similar to what happens if you turn off an old machine which has been running for years or even decades. Suddenly everything falls apart and it won’t work again.

¹¹ Discourse on Decadence (堕落論 / Darakuron) written in 1946 is Ango Sakaguchi’s most famous essay which examined the role of bushido during WWII. It is widely argued that he saw postwar Japan as decadent, yet more truthful than a wartime Japan which was built on illusions like bushido. The work itself, however, does not make any claims about the meaning of decadence.

¹² A line from Discourse on Decadence: 生きよ、堕ちよ (iki yo, ochi yo).

¹³ The word used here was 没落 (botsuraku) which refers to the fall of a nation or a family/clan. For example, the fall of the Roman empire, the downfall of an affluent family and so on.

¹⁴ Rokumeikan (鹿鳴館) was a large two-story building in Tokyo, completed in 1883, which became a controversial symbol of Westernisation in the Meiji period. Commissioned for the housing of foreign guests by the Foreign Minister Inoue Kaoru, it was designed by British architect Josiah Conder, a prominent Western adviser working in Japan. Although the Rokumeikan’s heyday was brief, it became famous for its parties and balls, which introduced many high-ranking Japanese to Western manners for the first time, and it is still a fixture in the cultural memory of Japan. It was, however, largely used for the accommodation of guests of the government, and for meetings between Japanese who had already lived abroad, and its image as a centre of dissipation is largely fictional.

¹⁵ He actually said ぱったりと (hattari to) which refers to a sudden, unexpected or abrupt stop. 

¹⁶ In Japanese, going to the beach is typically written as “海に行く”, literally “I went to the sea”, which is what was said here.

 

 

Return to Top

_______________________

Imai Hisashi

Something that makes people think that No.0 “was normal in comparison”
I want to create something that deviates from the rules even more

Interview by Kanemitsu Hirofumi

―― Shall we first start with a recap of 2019?

I: Uhh…… What did we do?

―― To start, in the first half of the year, you played a few shows at various locations which came about because Sakurai suddenly took ill and you had to postpone part of your tour. Then, in May, you released Kemonotachi no Yoru / RONDO and held Locus Solus Bestia at Makuhari Messe. And now, you’re still in the middle of the tour, but you’ll be rounding that up with THE DAY IN QUESTION 2019 at Yoyogi First Gymnasium this year-end.

I: Well, we didn’t really show our faces much but I suppose it felt like a year where we did a bunch of stuff. Locus Solus Bestia was fun, too.

―― In what way?

I: The general tone of the live show was a little dark, wasn’t it? But that was fresh, right? And that acoustic set on the center stage. It was our first time doing that but it was not bad. Just that in Makuhari Messe, it’s a looong way from the stage to the seats at the back, right? When I think about how the audience at the back probably couldn’t see us, I feel that it’s a bit disappointing. There are various opinions on this, but I think it’s better if we played in a venue where there are second-floor seats and people can watch us from above.

―― The setlist was indeed fresh. Like an inverse THE DAY IN QUESTION, or one that oozes with what makes BUCK-TICK’s core.

I: That’s how it ended up. We weren’t aiming for anything in particular. It just happened that way. Because when we collected the songs that the members wanted to play and we put it all together, that’s just how it turned out.

―― I suppose you were all in agreement without needing to check what you were going to do with each other, right?

I: That’s right.

―― That’s what I thought when I heard that Yuta-san proposed Aikawarazu no “Are” no Katamari ga Nosabaru Hedo no Soko no Fukidamari.

I: Hahahahaha.

―― Did you always intend to let your 2019 go at this pace from the beginning?

I: Yeah. You could say that it’s because I had quite a strong desire to properly compose music, or write a new song, or something like that.

―― Is that music for BUCK-TICK?

I: There’s no other, is there?

―― When I heard No.0, I thought that this album was the terminus ad quem of BUCK-TICK’s recent few years. That’s why I got this vague notion that the next album would probably involve a completely different approach, though.

I: Yeah. But I didn’t even think for a moment that [the new songs] might be better done with someone other than BUCK-TICK. Because there’s still a lot I want to do and experiment with the band.

―― It’s never-ending, is it?

I: It sure is…… There’ll probably be no end until I die.

―― When you spoke of things you wanted to do, what exactly was it?

I: What is it…… I still have no idea at all, but I guess it’ll be something that makes people think that No.0 “was normal in comparison after all”. I want to create something that deviates from the rules even more. Experimentation…… It sort of feels like that, but you could also say that it’s music that does exist anywhere in the world at present, or something that deviates from the rules and the norm, or something of the sort…… I still haven’t thought it out properly, though.

―― Was Datenshi what you composed with those concepts in mind?

I: Yeah. We made the song through quite a bit of trial and error while keeping that in mind. That’s why it has a clear theme, although we weren’t deliberately aiming for that.

―― When I first heard Datenshi, it gave me the impression that you’ve returned to a simple band sound based on rock and roll, but going back to your roots wasn’t what you aimed to do, right?

I: It may sound like that, but we’ve arranged it in a way where the bass and guitar ensembles and arrangements are being put in completely different areas than how we’ve been doing it so far.

―― Pardon me, but how is it different?

I: So, for example, parts where you’d expect to hear the bass according to regular band theory won’t have any bass, so on and so forth. We tried out lots of different approaches like these. Right now, what we’re looking for is an aggressive tone.

―― Aggressive!

I: But it’s different from the genre sense of punk or metal or anything like that. It’s just an aggressive feeling.

It’s not a result of us doing this for 30 continuous years. Neither is it a miracle or anything like that
We’re all working hard, and that’s what I trust in

―― Putting it very simply, when you produced SEXY STREAM LINER in the past, you incorporated house and techno into your music and ended up creating an album with an approach which was considered to be rather edgy at the time. To prevent spoilers, I won’t go into detail with regards to what kind of song [Datenshi] is, but can I say that you chose to go all the way with that concept rather than simply bringing it into your world as an ingredient?

I: Yes, exactly.

―― Looking at it from another perspective, I also get the feeling that employing such an approach evades the curse of the BUCK-TICK-ness where anything goes to generate the most originality for you.

I: Yeah. I thought that it could even be that such a method was instead the most typical of us.

―― Everyone tried to somehow get away from BUCK-TICK’s curse but be it programming or gothic or singing to your own playing or performing an 8-beat rock and roll number, no matter what you do, they’re all elements of BUCK-TICK so whichever way you go, you won’t bring out your full colours. In Imai-san’s case, you can do whatever you want because BUCK-TICK exists, but I suppose that might be tied to the fact that you keep trying all kinds of approaches, right?

I: Since I’ve got a variety of drawers¹ [to open], it’d be a waste to not open them to take a look anyway.

―― Come to think of it, I went to watch THE DAY IN QUESTION at Takasaki the other day. I thought the BGM that you’d play pre-concert would be genre-less as per usual, but suddenly GUNJOGACRAYON² came on and I was so confused.

I: Hyahahahahahahah!

―― It made me wonder just what kind of range your drawers contain.

I: About that, our manager contacted me a day prior and said, “Please send me tomorrow’s BGM.” Because I completely forgot about it (smiles), I started thinking about it right then, and I had so many [options] that I couldn’t decide (smiles). So without much thought, I just decided to put in whatever was suitable along those lines.

―― Fuhahahahahaha. I thought that it was definitely representative of that deviant sense of Imai-san’s.

I: I suppose it might be so.

―― Could it be said that this [deviant sense] is something that tends to some about when you’ve been at it for such a long time? Like, you want to rid yourself of constraints, or something like that.

I: It’s distancing from it and escaping from it. I think that it’s fun to break away from that too. That’s why whatever comes next is the one that’s going to be really interesting. I think it’s because we’ve made No.0 that we’re able to do that.

―― Is it going to be something special which has no relation to genre, or something that no one has ever heard before?

I: I can’t explain it very well, so I want people to get a sense of it through the nuances. Because like I’ve said earlier, I’d end up conveying something different again if I explain too much in detail. During Arui wa Anarchy too, I said, “surrealism”, but that was only a word that I used to share it’s image with designer Akita-san, you know? At the time, it was fine in the context of our conversation, but even if I told the general public, “BUCK-TICK’s next theme is a surrealism!”, it would be as good as a heavy metal band saying, “Next, we’ll be putting out a metal album!”

―― Ahahahahaha!

I: But that went out of hand and surrealism became the emphasis. The news began covering surrealism instead of the album (smiles).

―― And that’s why it’s a delicate and difficult task to put it in words, isn’t it?

I: It’s difficult, and the more I talk about it, the more I’d eventually end up thinking, “That’s just the same as usual, isn’t it?” Well, that’s also because what I want to do keeps changing, right? During Tenshi no Revolver, I thought I’d stick with that vibe for the rest of my life, but now it’s completely different.

―― What vibe are you referring to?

I: In other words, making rock easy to understand, with the riff, and things like that. It happens all the time. Me, thinking, “I want to do this.” But then, it changes. Because that’s just how it naturally goes. That makes things interesting for myself, and for us [the band] too.

―― So, because that is still there, you’ll be playing as a band tirelessly in 2020.

I: Yeah, I think it’s going to be amazing (smiles).

―― And that is because of the enormous trust that you have in the band that, like you’ve said earlier, gives you the confidence that, “No matter what I do, it’ll be alright as long as it’s with these 4.”, right?

I: That’s why we’ll never tire of doing it, right?   It’s the same for me and everyone [in the band]. Whether it’s recording work or rehearsals, if I start to think about slacking off, I believe I’d be clear [that I feel that way], but I don’t get those kinds of feelings at all. I don’t ever think, “This is good enough.” ³ I think that’s our greatest strength. Because, you see, I don’t think that this is a result of us keeping at it all this while, or having been doing this for 30 continuous years. Neither is it a miracle or anything like that. We’re all working hard. And that’s what I trust in.

 

Notes:

¹ I think it can be established that when they say “drawers”, you can imagine a huge cupboard with a ton of drawers for you to open and close. Each drawer holds a different thing, and opening a new one gives them something new to explore.

² GUNJOGACRAYON were formed as a four- or five-piece outfit around guitarist Kumihara Tadashi and keyboardist Ohmori Fumio in the late 1970s, and have been supporting the Japanese underground music scene since then. Their peculiar soundscape with violently scattered piano sounds, weird and tricky voices or a sticky guitar psychedelia could amaze and perplex lots of reviewers and audience. They are famous for not only their sound but also the rarity of their studio works (they have released only three official albums for over 30 years).

³  In the sense that something half-arsed is good enough for him to call it a day.

 

Return to Top

 

 

[Live Report] The Day In Question 2019

2019.12.03 Takasaki City Theatre

This is their annual year-end show. They chose to play in their hometown, Takasaki, Gunma on the opening day of this tour. Because this was a place befitting their announcement of a new beginning.

 

text by Kanemitsu Hirofumi
photographs by Shibata Eri, MASA

The band’s freedom and the absolute trust they have. That, I believe, without a doubt, is what leads into their next release.

3rd December. Takasaki City Theatre.

This was the first day of the tour, so I can’t deny that there were still areas to be explored. The fact that this is their hometown, a special place to them probably has some bearing on it too. During the member introductions in the encore, Higuchi and Yagami, the brothers who grew up in Takasaki, were standing all smiles while being introduced last. But what the live show conveyed was akin to a firm resolve to take a step forward into somewhere new. This is a band whose members are all above the age of 50 and which was formed more than 30 years ago, but this spirit with which they still take on their music, live performances, and the band itself can only be described as amazing. Therein lies the enormous trust that has been built up through the years.

Since THE DAY IN QUESTION is positioned as an annual year-end show unrelated to album releases, the members deliberately bring in songs that they don’t usually play. And this time, the set list that they eventually decided on here didn’t include a single song from their latest album No.0. Of course, they did go on a long tour for it the year before last, so they might want to keep their distance from that particular release for the time being, but more than that, it feels like their reason behind this was a decision to reset everything and head towards what’s next.

And in terms of song selection, even though this was THE DAY IN QUESTION, with the exception of Uta, SILENT NIGHT, Speed, and LOVE ME which were released during their debut with their first era in Victor, most of the songs they chose were from the 2000s, released after they moved to Ariola. Because of this and the addition of various arrangements, the overall tone of the set list left a fresh impression, emphasising a band which has grown stronger since their ONE LIFE, ONE DEATH days.

On this day, Sakurai’s emotions were once again conveyed with a tingling pain. As shown to us during the No.0 tour and Locus Solus Bestia, his method of looking at himself from an observer’s point of view and “performing” Sakurai Atsushi separates the stage from his daily life for him and thus, likely reduced the burden on himself, making it comparatively easier for him to confront the music but this live show leaves a heavy weight in my heart. There’s even a kind of fear that I’ve seen something I was never meant to see. But that’s a good thing. Mudai in the encore was especially stunning, weaving darkness over magnetism. The way he sang as if he was squeezing everything out of himself could only be described as bona fide.

Because this was the kind of show they gave, Imai’s wildness stood out. From Cyborg Dolly: Sora-Mimi: PHANTOM to PINOA ICCHIO -Odoru Atomu-, and Alice in Wonder Underground to Speed, the sight of him playing the guitar while hopping around the stage was of an uncontrolled creature not found anywhere else. There probably aren’t many who can tame him. And here is where he can be free.

The more I watch their contrasting performances on stage, both Sakurai and Imai seek what they lack from each other. They can be described as light and darkness, but in the end, it’s as if they have a complementary relationship with each other; one can’t be without the other. And that’s why they are unafraid. Whatever the approach of the music they create, no matter how heavy the themes, it will all become a part of and also build up the prominent individuality of the band that is BUCK-TICK.

Among all of that, they performed their new song Datenshi. At first listen, it makes you think that they’ve decided to make a U-turn back to a simple band sound, but discomfort and avant garde can be glimpsed, in a good way, on their faces. And also, those catchy yet dark lyrics. I kept wondering what it was, and in the interview, I found out. From this song comes the band’s motivation to step out into new frontiers and the suspense which currently exists within.

In 2019’s THE DAY IN QUESTION, the band’s freedom and the absolute trust they have in each other was felt more strongly than usual. And that, I believe, without a doubt, is what leads into their next release.

 

 

Return to Top

 

 

BUCK-TICK and the Ariola Decade
2000-2010

Celebrating the release of B-T LIVE PRODUCT -Ariola YEARS-

text by Kanemitsu Hirofumi

 

In 2000, BUCK-TICK switched labels to BMG Funhouse. Following that, BMG was absorbed into Sony and the label name was changed to Ariola Japan. Those 10 years of activity was a crucial period for the band to establish something. In this article, we will unravel those days as we contemplate the significance of this box set.

 

This era is a time of BUCK-TICK’s rebirth and their awakening as expressionists
Now, as they cross 30 years together and step into their golden age, it’s more important than ever to look back at where they came from and appreciate it

BUCK-TICK was with Ariola Japan from 2000 to 2010 which includes their time with BMG Funhouse, the predecessor of Ariola Japan. The live footage from this era, including previously-unreleased content, will be released in a 10-disc Blu-ray box. The video resolution will, of course, be scaled up and the sound quality remastered in high-definition, so through this box set, live works prior to TOUR 2007 Tenshi no Revolver, which had only been released in DVD format, can now be enjoyed in much higher video and sound quality.

That said, it’s an expensive product with a price tag of 32,000 yen. And now that the sales tax rate has gone up, it’s a little daunting to loosen the purse strings (lol). The unreleased live footage from the annual Nippon Budokan concert on December 29th, which was held as an additional performance to the TOUR 2010 go on the “RAZZLE DAZZLE” is included as a bonus disc to encourage those of you who feel this way. 

The main setlist is no different than that of the recording of disc 9 in this box, but the songs which were performed for the encore were, on this day only, different from what was performed on the other dates of the tour. They performed the very first song on ONE LIFE, ONE DEATH, their very first album released upon their move to Ariola Japan, Baby, I want you. and the epilogue of 13-kai wa Gekkou, DIABOLO as the last song. The song’s ending of “Go-kigenyou sayounara” sounds like an expression of gratitude to Ariola with whom they have spent more than 10 years. Their relationship was such; loved and beloved.

In the beginning, when BUCK-TICK moved to BMG (now Ariola) at the start of 2000, expectations for the band was, in all honesty, rather low. SEXY STREAM LINER, released in late 1997, used a lot of programming and sampling, making it an album which leaned towards techno or house music. At the time, such an approach was shockingly edgy, and both the scene and the listeners couldn’t keep up with them. The reaction they got was, in short, one of rebuff and, as if to show this to them, the turnout to their live shows gradually decreased. 

It was right then when I took over this publication and I went to watch them live for the first time in a while. The show I attended was SEXTREAMLINER Reishiki (type 0) which was held at Nippon Budokan over 2 days, but the second floor seats were shockingly sparse. To be honest, I remember myself wondering, “Is this band…… okay?”

It was during such a period when they switched labels. The news was not highly publicised and was instead, quietly conveyed to me. But the passion of those involved with them was fiery. When I watched the live performance mentioned earlier, I thought, “Maybe I don’t need to cover the show……”, but eventually what got them into the publication was, without a doubt the enthusiasm of their promoters of that time and their manager. I was a little sceptical, so the coverage of ONE LIFE, ONE DEATH was published in monochrome pages. Things, however, gradually began to change with the times and a good vibe began to flow. 

Wasteful behaviour, like the way they used to only go into the studio at night even though it had already been prepared for their recording sessions, began to disappear. They started to become more aware of their situation. In other words, the Ariola era was, in many ways, the right time for the band to give themselves a reboot.

And that’s why, during this period, there was a sense of the band working towards getting something back, where all 5 of them were looking towards the one same direction and, at the same time, being acutely aware of their band sound be it for album recordings or live performances. It was also in this time when each of them embarked on their own solo activities for the first time. 

However, those activities were most definitely things that they couldn’t have done within the band and rather than doing this to puff up their egos, it was more for the purpose of distancing themselves from the band. And in those activities, Sakurai’s theme became “the performance of non-fiction” to “portray life and death”. 

As long as he possesses this firm concept, he can do anything, and utilising this, Imai’s music began to freely traverse between pop and avant garde too. Among all of this, Imai was inspired by Sakurai’s solo activities and took the “gothic” concept and created the masterpiece 13-kai wa Gekkou which then led into the worldview of “life and death” in memento mori. It was during this period of time when they once again acquired something unshakeable; something that would become the core of the band.

Long story short, I’ve said it numerous times, but it was during this Ariola era that the worldview that was to become the present BUCK-TICK’s core surfaced and took a tangible form. You can see the way they’ve matured from one live show to the next, and each of them is fascinating to watch. 

Sakurai, who had been projecting himself through the band’s speedy progression and sound gradually sensed the danger of this, encountered the gothic style of expression, and learned that he could project himself there rather than simply act it out. Such is the tale told in these 10 discs. 

Ariola Years is a time of BUCK-TICK’s rebirth and their awakening as expressionists. And now, as they cross 30 years together and step into their golden age, it’s more important than ever to look back at where they came from and appreciate it.

 

__________________________

2020.03.18 RELEASE
『B-T LIVE PRODUCT -Ariola YEARS-』

DISC
01 ONE LIFE, ONE DEATH CUT UP
02 BUCK-TICK TOUR 2002 WARP DAYS 20020616 BAY NK HALL
03 Mona Lisa OVERDRIVE -XANADU-
04 at the night side
05 悪魔とフロイト -Devil and Freud- ClImax Together
06 13th FLOOR WITH DIANA
07 TOUR 2007 天使のリボルバー
08 memento mori 090702
09 TOUR 2010 go on the “RAZZLE DAZZLE”
10 BONUS DISC

 

 

Return to Top

 

 

Editor’s File

So how will they express themselves and prove their abilities?
BUCK-TICK’s existence is that which is found in such a colossal question

text by Kanemitsu Hirofumi

 

This is this first single since Kemonotachi no Yoru / RONDO, the theme of Locus Solus Bestia. As one of those who had been there at the live show, I had a rough idea that this’ll probably be a song of gratitude. That would be the most beautiful story of all. But I had forgotten that BUCK-TICK is a band that will always put a new crack in that perspicuity.

At first, a gentle number was prepared for release, but the story of its last minute replacement with Datenshi is typical of them. The song starts with a glam-like guitar riff, followed by an electronic sound which defies the typical rock and roll mould. This title track which plunges us into a jagged B-T world is a number which lets us get a sense of Imai’s true nature and desire to deviate from the norm. On the other hand, you could say that it’s because of Sakurai’s songs, which he says only ever sings about the one same thing, his absolute vocals, and his lyrical world that Imai is required to deviate. Even now, these two’s honeymoon still show no signs of ending.

The B-side to this single is Luna Park; a fresh, breezy, electric pop-style number written by Hoshino. I’ll talk about this later, but Hoshino is truly unwavering as a maker of simple melodies. You could even say he’s an artisan. The sensual seduction found in here; a fleeting sigh, a slightly forlorn smile, dreamy innocence, and Sakurai’s expression with his adding of lingering notes as the song ends turns the simple song into an irreplaceable original. After Locus Solus, there was a period of stagnation when he was struggling to work out what he was but hearing these two songs, I can’t help but say it. There is no question that you are Sakurai Atsushi of BUCK-TICK. And this is something that no one but you can do.

For better or for worse, this fact can be keenly felt in their 3rd tribute album, PARADE Ⅲ. No one can become Sakurai, neither can anyone sing like Sakurai. The original songs are a dark and debauched demon realm, so if they approached the songs sluggishly with a singing style different from their normal selves, that attitude would be all too easy to spot. The reluctant contrivity will be exposed. But, that said, singing simply won’t bring them far. It would just prove that Hoshino’s songs have a good melody and are surprisingly refreshing. That’s all. All things considered, the difficulty of pulling it off is high with every iteration of a tribute album. Because rather than going head to head with the original songs, these participating artists have to confront what’s in them or they will most definitely get burned.

First up, BRAHMAN have decided to take their winnings and quit with ICONOCLASM. No matter the song, we will scream with all our heart and soul!   It is with that spirit and buff body that they push hard with to the very end. Although not even a sliver of the bewitching nature of the original remains, the unreserved manner they did their cover with makes their participation all the more meaningful. Similarly distant from BUCK-TICK, Sakamoto Miu’s and Fujimaki Ryota’s simple, stripped-down arrangements are a stark contrast of the original songs. Simply singing alone won’t get you far. And I believe that you’ll come to understand what it means to challenge what’s inside of you when you hear their songs.

Also involved are artists adjacent to BUCK-TICK like Kokusyoku Sumire and GARI, but the masterpiece is minus(-)’s rendition of Keijijou Ryuusei which saw Fujikawa Chiai invited for the vocals of the track. It respects and carefully follows the world of the original song, but if you listen closely, you will notice that a 6/8 time, or a waltz, has been casually inserted into the originally four-beat song. But we should first of all say that Fujii Maki did a great job of choosing Fujikawa’s voice which added an elegance that is not too heartbreaking.

Then, the participating artists who respect BUCK-TICK and are in-turn respected by BUCK-TICK too are probably DER ZIBET, DIR EN GREY, and Shiina Ringo. I was surprised at the arrangement of Shiina’s music, but the power of each artist’s expressive ability was an eye opener. Neither of them can become Sakurai. So how will they express themselves and prove their abilities? BUCK-TICK’s existence is that which is found in such a colossal question.

BUCK-TICK’s 2020 begins with Datenshi and after that, they will move on to their next album. In their 33rd year together, these 5 steadfast band members will be taking their next step into the unknown. This I await in anticipation.

 

 

Return to Top

 

 

 

 

Translation: Yoshiyuki
Scans: spanielonthemoon on Tumblr

[Live Report] The Day In Question 2019

Ongaku to Hito
31 December 2019

Text = Kanemitsu Hirofumi
Photos = Tanaka Seitaro (★), Tatewaki Taku (▲), Watanabe Reina (■) (Tanaka Seitaro Photo Office)

 

 

Even though the dream will end sometime, it is for certain that here, they have friends and everyone who loves them.

【Live Report translation】
BUCK-TICK THE DAY IN QUESTION 2019
29 December 2019 at Yoyogi National Stadium First Gymnasium

 

 

「No matter how lovely my dreams    When I wake up, I’m always alone*」

The lyrics of their last song, LOVE ME, resonated in my heart. This was a song that they have always sung, but for some reason, on this day, it was especially significant.

This year, BUCK-TICK’s THE DAY IN QUESTION 2019 was held as a tour, making stops in Takasaki, Osaka, Nagoya, before playing the final show here in Tokyo. For almost 20 years, they have been performing in Tokyo on 29 December at the Nippon Budokan every year, but this year, the Budokan was undergoing refurbishments and could not be used, so their venue was shifted to Yoyogi National Stadium First Gymnasium.

I remember this same day last year. After they postponed a few (4) performances when Sakurai Atsushi fell ill, the place where he made his comeback was the Nippon Budokan. It has been one year since that day when, in an instant, we realised that nothing lasts forever and were made to feel that we should treasure our present moments more than ever.

This year, aside from performing the rescheduled concerts for the postponed lives, Locus Solus no Kemonotachi at Makuhari Messe, and after that, this tour, the rest of their time was spent in production. The number of lives they performed was few. Because of that, it felt as if there was an especially strong desire for the band.

The setlist remained more or less the same for all 4 venues. With a keen awareness, they opened with Muma 〜The Nightmare, and until the last song of their first encore, Mudai, the performance felt like a quixotic circus of darkness. It was as if we had been dragged into someone’s nightmare. As a spirit dressed in burial garb, the Fool follows. Until the very end, this worldview held fast.

Until the end of the first encore, the songs they played were mostly from their days following the move to BMG Funhouse (now known as Ariola Japan) with the exception of Uta, SILENT NIGHT, and Speed. Considering the fact that a snowy performance created a flow which led from Snow White to SILENT NIGHT, it was, in essence, two songs.

This is because the members acknowledge the worldview that BUCK-TICK possesses, and I believe that it was during the time of their move when they dared recognise it and let it take shape. As a result, the songs that were selected is close to the tone of their world and in line with for THE DAY IN QUESTION’s concept of “performing nostalgic songs which won’t be played during a regular tour”.

The only change for the main set was that the first day’s New World had been switched for Dokudanjou Beauty-R.I.P.-. On the other hand, with the second encore, they switched around between a total of six songs including the four listed below and two others; MISS TAKE -boku wa miss take- and GLAMOROUS.

Within such a set, they performed their new song Datenshi in the encore. This song, which started with a glam rock-like guitar which sounds like something you would’ve heard somewhere before, feels like a rock-and-roll song with a simple beat, but something about it leaves behind a strange sense of discomfort. Imai talks about it in the headline feature interview of the next issue of Ongaku to Hito, but perhaps that comes from the composition of the song.

We were once again surprised by the avant-garde ideas of the inscrutable Imai, but no matter what song it is, (it works because) once these five play together, they possess an implicit value that makes anything become BUCK-TICK’s. And because of this, Imai is allowed to write unabashedly strange, “anything goes” type of songs. And this trust didn’t come about just because they have been playing together for 30 years or have been friends since their high school days, but it is something that exists because the five of them have been working hard and thinking about the band every day.

Many call this band a miracle, but that is not what they are. These five have been working hard every day to make sure that this band continues to thrive. This tough band vibe that can be felt from the stage is the gift that comes from their ongoing devotion to betterment.

 

The main set of this show followed the setlist of “ABRACADABRA ON SCREEN”. With the exception of Luna Park, which was performed in the encore rather than the main set, the song order did not change and their outfits were the exact same too. This is the ABRACADABRA album tour part of today’s show and it let the audience feel their will to make the show feel as if it was their usual tour final. Doing nothing special and going about with things as per normal might just be the biggest show of rebellion in these present times. And that attitude was what accompanied the thoughts of the fans who attended “ABRACADABRA ON SCREEN” which ran 26 shows in 23 locations all over Japan.

「We’ll meet again, for sure」

After Sakurai said those words, he sang LOVE ME. When it was first written 30 years ago, they may have woven the words and melody without thinking too much into it, but the footprints that they have left behind through this time has turned those words into something heartfelt. And they knew that although a person is always alone, that’s not the case in a band. Even though everyone is on their own, even though the dream will end sometime, it is for certain that here, they have friends and also, everyone who loves them.

In the summer of 2020, they will release an album and after that, they will go on a national tour. Furthermore, they have also announced THE DAY IN QUESTION on 29 December to be held at the Nippon Budokan. Such promises made ahead of time become hopes for the future. It was a great concert.

 

 

 

 

【SET LIST】

01 Muma -The Nightmare
02 Uta
03 Kemonotachi no Yoru
04 Jonathan Jet-Coaster
05 Hamushi no You ni
06 Zekkai
07 Cyborg Dolly: Sora-Mimi: PHANTOM
08 PINOA ICCHIO -Odoru Atomu-
09 Gekka Reijin
10 Snow white
11 SILENT NIGHT
12 Alice in Wonder Underground
13 Speed
14 Dokudanjou Beauty -R.I.P.-
15 FLAME

ENCORE 01
01 Datenshi
02 RONDO
03 Mudai

ENCORE 02
01 Coyote
02 Dress
03 Aku no Hana
04 LOVE ME

 

* All song title and lyric translations come from This is NOT Greatest Site.

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito

Interview with Imai Hisashi
for Amplifier Collaboration

The “prodigious lefty” who stays active as BUCK-TICK’s guitarist
Imai Hisashi arrives in the form of a retro-taste figurine

OPENERS
4 October 2019

Photographs by ISHII Fumihito
Text by SHINNO Kunihiko
Edit by KAWASE Takuro

 

“Connect the trajectories and don it”

“Amplifier” is a rock apparel brand which started with the concept of introducing the portraits of artists, who established an era in Japan’s music scene with their overwhelming presence, by incorporating them in apparel to let future generations inherit them as universal icons. It was founded in 2016, between MEDICOM TOY and designer Hirakawa Rentaro. Starting with the Imawano Kiyoshiro series, they have created a line up of photo T-shirts featuring the gallant figures of numerous Japanese rock legends.

From “Amplifier” began a new VCD Amplifier Artist Series. For their first edition, they will be releasing a figurine of BUCK-TICK’s guitarist, the “prodigious lefty” Imai Hisashi in January 2020. During the 3D modelling,  “Amplifier” producer Mr Hirakawa selected a model which faithfully reproduces the features down to the smallest detail while applying the retro flair representative of VCD ANDY WARHOL. The head is a reproduction of Mr Imai’s likeness from the 90s with an added overmask of his present appearance.

Together with the figurine, the Amplifier “Imai Hisashi” TEE design F Series 2 which uses a photo depicting the same outfit as the figurine is on sale now following last year’s highly popular Series 1. To celebrate the launch of VCD Amplifier Artist Series, we bring a special interview with Mr Imai Hisashi. In it, he talks about the details which he paid particular attention to with his own figurine, the artist(s) who are the roots of his music, what led him to start a band, and more.

VCD Imai Hisashi
Amplifier “Imai Hisashi” TEE design F
|MEDICOM TOY

 

 

── On this occasion, we would like to talk about the VCD Amplifier “Imai Hisashi” and the Amplifier “Imai Hisashi” TEE. To start, does Imai-san have an interest in figurines?

Imai (I): Although I’m nowhere near a collector’s level, I do like them quite a lot. Of course, I’ve also heard of MEDICOM TOY since a long time ago. I have a few of their products too, like an Evangelion’s apostle(s)*, REAL ACTION HEROES’ KANEGON, a Nightmare Before Christmas BE@RBRICK, a BE@RBRICK speaker which is used with the iPod and plays music from its ears, among others. They’re displayed in my workroom in the basement but recently I’ve been running out of space……

── You sure have a lot of them. By the way, is there anyone else among the members of BUCK-TICK who also like figurines?

I: Our drummer Anii (Yagami Toll) collects a few. His taste is a little different than mine though, like KISS and Bruce Lee and so on. He’d come and say, “Imai, I bought thisー” (lol).

── What was it like when you were first spoken to about Amplifier “Imai Hisashi” TEEs?

I: Hirakawa-kun is an old acquaintance of mine and he showed me T-shirts of the Professor (Sakamoto Ryuichi) and of Kiyoshiro when he said, “I’m planning something called Amplifier”. It looked interesting, so I told him that I’m definitely intrigued. Regarding the photo selection, Hirakawa-kun initially chose a few for me which he thought would work well on T-shirts, and we compared and made the decision from there.

── Since they’re black and white photo tees, they’re very versatile pieces.

I: I, too, often wear Kiyoshiro-san’s and Endo Michiro-san’s T-shirts. Because it’s easy to look good by simply wearing those under a riders jacket.

── From that Amplifier comes the launch of the first edition of figurines with VCD Amplifier “Imai Hisashi”, so what was the development process like for this?

I: Firstly, we talked about how faithfully they can reproduce the clothes, hairstyle, and makeup. Since we’d be using soft vinyl, we can’t really reproduce the designs down to the smallest detail so we decided to go with an easily recognisable outfit, which resulted in it being the shirt I wore during last year’s tour (TOUR No.0 – Guernican Moon – ), the enamel pants and boots.

── And the design of this shirt is a homage to Yellow Magic Orchestra (YMO) wore during their 1980 world tour, right?

I: It feels like people who know would know (lol). I think those who are immediately reminded of the YMO shirt are people who belong to the same generation as me or are true YMO fans. I’ve always loved that shirt, so much so that I wore the reprint version that came with YMO’s best-of album in 2003 (UC YMO) for live performances like Summer Sonic. Since we were doing an album tour for No.0, this particular shirt was what our stylist came up with when I told him, “Please design something along the lines of the YMO shirt with the No.0 logo”.

── It appears that YMO was what led Imai-san to head down the path of music too.

I: Until them, I had no interest in music itself, but the moment I heard TECHNOPOLIS on TV or something, I thought, “This is it!” Right after that, I went to buy the single and then kept listening to that and only that on the stereo that we had at home. Because of this, when I was rushing to go to school every morning, I’d run out of time and I’d always leave it playing. That addiction was strange, wasn’t it?

── And you started thinking of putting a band together since then?

I: Nope, I didn’t have any such ideas at all when I was in middle school. I wasn’t interested in the guitar and I couldn’t afford to buy things as expensive as synthesisers anyway. I only thought of wanting to play in a band sometime after that, when a friend lent me an RC Succession cassette. It seemed fun to make noise with everyone all at once and I thought, “Bands sure are cool”. It felt like I found yet another thing that I liked. When I entered high school, I thought that it would be nice if I could play in a band and gradually, I started to think, “I wonder if I can do it?    Then again, nothing will happen if I don’t do anything!” So I got myself pumped up and then started a copyband of THE STALIN with my friends from the same school.

── That’s the band which was to become BUCK-TICK’s predecessor.

I: I was super happy. I thought, ‘Ah, we can be the band I’ve always dreamt of like this, I’ll definitely make this band my profession’. That said, somewhere inside, I was thinking along the lines of, “This band might disappear soon, and if that happens, I’ll go to Tokyo and look for band members again”. Then, everyone became pretty serious about it.

── I think it’s amazing that you’ve been active for over 30 years without any change in member lineup since then.

I: Back then, my house became a sort of hangout; whenever a new record is released, everyone would come and listen together. I guess you could say it was the new wave sensation in the early 80s, but new releases kept coming steadily and it provided a lot of inspiration.

── BUCK-TICK’s range of musicality is rather wide too. With post-punk, techno, new wave, shoegaze, ambient, industrial…… What do you think is the reason behind your ability to continue on as this unique existence that fuses this myriad of elements?

I: Right from the start, we thought that we would just compose more and more songs without deciding on a frame of “we are a band of this particular genre” to belong to. It was something like that. As a result, we turned into an omnivorous band, or rather, one where anything goes (lol). Personally, I think that it’s interesting that a different impression is made with each album. Didn’t David Bowie change completely depending on the era?    Like, when he did industrial music, he teamed up with Trent Reznor (Nine Inch Nails). I felt that it was cool that he could unabashedly do things like that, and I wanted us to be that kind of band too.

── Do you discuss with the other members the kind of concept that you want each album to have?

I: We’d sit down and talk about it at least, but the conversation always ends with, “But we won’t get it if we don’t have the music” (lol). Because things will get pulled in that direction when I try to explain using only words.

── Just like your sound, BUCK-TICK’s fashion has always been individualistic since your debut, but does Imai-san have any artists who you consider as influences?

I: For sure, the great Hotei Tomoyasu from BOØWY who hails from Gunma like myself. The sight of him playing the guitar in a suit while wearing enamel wingtip rubber soles is immensely cool. From his hairstyle to the way he carries himself, everything has been an influence. With regards to foreign influences, I like watching and listening to bands like The Cure that look interesting based on their appearances. Unlike now, back then we couldn’t watch music videos whenever we felt like it, so I was starved for information.

── Your drawing “B-T” on your cheek left an impact too.

I: That started during our indie days when I decided to give it a try and show up on stage with that. On the contrary, I more often than not didn’t draw it on back then, but gradually it began to feel like I had to have it on (lol).

 

── For this VCD Amplifier “Imai Hisashi”, the head is made in the image of one of your looks from the 90s with the horizontal streak of black paint over the eyes.

I: The figurine has an overmask (a mask that is put on the figurine) of my present face, so I did want to play around and try to use a past look on it. I think this particular makeup was during the period of the ‘darker than darkness -style 93-’ (1993) album release. Pretty makeup is fine too, but I felt that the symbolic sense of “painting only the eye area black” in the image of the replicants from the movie Blade Runner would be interesting.

── The necklace around the figurine’s neck is also one of Imai-san’s favourites, right?

I: It’s made out of silver and was released as one of BUCK-TICK’s goods. I wear it during our lives. Including those produced by the individual band members, we’ve created a lot of goods thus far but I think goods that we can wear on stage as a part of our outfits like this are definitely great.

── I believe the overmask is presently undergoing the final revisions but was there anything in particular that Imai-san requested for?

I: The first sample’s eyebrows were too distinct so I had them fix that part, and maybe it would be better if the eyes drooped a little bit more. We spoke about things like that.

── I’m looking forward to the reproduction being even more realistic. But looking at it now, Imai-san’s hairstyle also changes with each period.

I: I had quite a variety of hairstyles, didn’t I? In my 20s I frequently changed my hair colour, but these days, I just change it with each tour.

── On the other hand, you have band members who don’t change at all.

I: Because Anii said that hairstyle is for life (lol).

── We can also enjoy the variations of your looks through the photos that were used for the Amplifier “Imai Hisashi” TEE  design.

I: Even I was wondering, “When did I have such a hairstyle?”. I’ve forgotten quite a lot (lol). The pattern on my head in design C was done by my makeup artist who liked drawing things like that, so I often asked them to draw it for me. The unicorn mask in design E came about when I wanted a headpiece to use during lives, one which looked like a buffalo skull which was displayed in a bar or something in the 90s. That was the rough explanation I gave and this was the amazing mask that was made with leather (used during BUCK-TICK TOUR 1996 CHAOS, Tour memento mori, etc.).

── Have you received any feedback about the T-shirts from the fans?

I: I got quite a bit via email. There were quite a few who had requests hoping that we would continue with it.

── It would be great if they liked this time’s design F too. And, of course, I would like to ask about your music. This spring, BUCK-TICK put all of your original albums and singles up on streaming services. If you had to choose 3 albums to use as an introduction to the younger generation, which titles would you pick?

I: Hmm…… This is difficult (lol). It depends on individual taste, but I’d pick Kurutta Taiyou (狂った太陽) (1991) which was a turning point for us musically. And, our latest album, No.0 (2018). And, memento mori (2009), I guess?    While there are people who enjoy band music, there are also those who prefer music with a bit of electro thrown in. The worldview and melodies change drastically with each album, so I think it would be great if they can enjoy each album as it is.

── Speaking of worldviews, RONDO (lyrics: Sakurai Atsushi / music: Imai Hisashi, from the single Kemonotachi no Yoru/RONDO), which was written as an ending theme song for the presently airing FujiTV anime Gegege no Kitaro, seemed like an unexpected meeting (between the song and the anime) where both their worldviews merged together brilliantly upon listening to the music.

I: That’s right. When they first came to us, I thought that it might be difficult, but after thinking it over for about a minute, I thought, “Then again, isn’t this something that only we can do?”. From there, the idea that such a melody might work well kept coming. I really feel like it was a good thing that we decided to do it.

── As for your plans in the near future, the recording of your performances at Makuhari Messe this May will be released in the Blu-ray & DVD of Locus Solus Bestia (Locus Solus no Kemonotachi / ロクス・ソルスの獣たち) on November 20. In December, you will be going on tour for THE DAY IN QUESTION 2019 and performing at Takasaki Arts Theater Grand Theater in your hometown, Gunma Prefecture, followed by Aichi Prefectural Art Theater Large Hall, Osaka Festival Hall, and finally, Yoyogi National Stadium First Gymnasium in Tokyo. After enjoying these live performances, it would be great to acquire the VCD Amplifier “Imai Hisashi” in the new year.
Last but not least, please share with us whether you have something in mind that you’d like to do in collaboration with Amplifier.

I: I’d like to make more T-shirts. And if there are a bunch of interesting ideas that come up in discussions with Hirakawa-kun, I’d like to try those out too. I was invited to MEDICOM TOY’s exhibition (the MEDICOM TOY EXHIBITION ‘19 held in July) the other day and while looking around, I kept thinking, “Ah, this is nice. Ah, the Evangelion is nice too”. And while there, I got my hands on a BE@RBRICK which had a picture of the moon printed on it (MOON BE@RBRICK), so I’m still thinking about where I should display it in my workroom.

 

© BANKER LT.D

 

 

 

Notes:

*Apostle (使徒) is what the Angels are known as in Japanese

 

 

Translation: Yoshiyuki

Source:
https://openers.jp/design/design_features/Hl8mX
https://openers.jp/design/design_features/4rscD

Amplifier shop: http://amplifier.tokyo/artists/imai_hisashi/

 

Locus Solus and the Future

Ongaku to Hito
July 2019

text by Kanemitsu Hirofumi
photographs by Kudo Azusa

 

And after the 2nd day of Locus Solus no Kemonotachi concludes, the (surprisingly) 19th iteration of the Poem of June [Roku Gatsu no Fuubutsushi*] was carried out backstage. The photoshoot was done 10 days before this when rehearsals for the Makuhari performances had just started. It was taken at the park near the studio but, well, he was naturally relaxed. Nothing has changed in these past 19 years. And this interview. It was barely 20 minutes after the live concert had wrapped up, so I was worried about whether he was still tense from it, but here, too, he was his usual naturally-relaxed self. The soon-to-be 53-year-old took the trouble to bring out chairs himself to set up a space for the interview. Most wonderful of all is that this naturally-relaxed guitarist is still able to say, “This is where (my) happiness is,” just as he did 19 years ago during our first interview for this series, which truly makes me feel that this is what’s great about this band.

 

 

There’s no time to rest, but I think of that as happiness so it’s alright.
Because even now, today, this many people are willing to come and see us. Mm…… BUCK‐TICK is my happiness

―― Thank you for today’s wonderful performance. This is already the 19th time we’re doing the annual birthday month interview, but it’s the first time that we’re doing it in a live venue, and also the first time we’re having the interview right after a performance.

Hide (H): Ah, so it’s the first time we’re doing it like this…… That said, this is the 19th?

―― It’s the 19th. Next year will be the 20th anniversary of this Fuubutsushi, so shall we visit a Southern island (for it)?

H: That sounds ni~ce. To think it’ll be the 20th year.

―― So, today’s live. It was absolutely great.

H: Wasn’t it? Yeah, it was great.

―― Though, I was surprised by the Gegege version of Hidehiko** (lol).

H: Th-that’s what you want to talk about (lol). About that, the illustration was delivered to us and our manager asked us, “What do you think?”, but even if we’re being asked for an opinion, you know (wry smile). I didn’t bother asking them to redraw it. Because (I think that) there needs to be one who makes people laugh.

―― Well, that’s true (lol).

H: I’m happy as long as people enjoy it (lol).

―― And about the live……

H: Well, it was pretty hectic yesterday, right? I feel bad for the fans because there wasn’t enough time for the stage set up and all that. It appeared that even the commencement of venue entry procedures and goods sales were delayed. I’m sorry for the inconveniences.

―― I see, you were concerned about that. For this event, we could perhaps say that the song selection was rather unique.

H: Ahh, I guess that’s true.

―― If I were to venture an opinion, it seemed as if the band’s decadence/gothness was distilled and in between that was a composition that put together upbeat songs that are suitable for the concert.

H: That’s right. Imai-san probably mentioned it. We decided on the impactful name “Locus Solus no Kemonotachi”, and thought that it would be nice if we could bring the image of the live close to that…… I read PHY, though.

―― Come on, speak frankly (lol).

H: Well, that’s too late now, isn’t it~?

―― Is PHY the members’ group journal (lol).

H: Hahahaha. It’s not that I’ve never heard those words before, but we only knew what the event name was, so we formed an impression from there and selected songs. Then, we picked songs from that selection and put the setlist together, but even though everyone interwove the new and old songs, we ended up with that particular kind.

―― So, you’re saying that this was the result of what everyone brought to the table based on the image of “Locus Solus”, rather than having a lingua franca of decadence or gothness.

H: Yes, yes. That’s the result of it.

―― What kind of songs did Hide-san (pick)?

H: Those I brought up were  “Shanikusai -Carnival”, and “Kirameki no Naka de…” too, and also “Thanatos”. There were other songs I raised which ended up getting cut, but in short, I guess you could say that we were going for something that we could share with the fans, rather than creating an atmosphere of, “It’s a celebration, so let’s party!”.

―― Ahh. It’s like what Imai-san said with the “gathering of nonconformists”.

H: I guess that’s the sense of it. But we felt that it wouldn’t work well if we only rounded up songs that are like that, so I guess that’s why we strategically placed songs like the opening, “Kemonotachi no Yoru”, and “ICONOCLASM” to turn it into a balanced arrangement.

―― I see.

H: Though, at the stage of when we were picking the songs, maybe everyone also felt that they wanted to do something that is different from THE DAY IN QUESTION and CLIMAX TOGETHER.

―― The result of it is that you ended up with a live which was strongly characterised by decadence/goth, but this does give the feeling that it might be nice to do it again, doesn’t it?

H: Yeah. It’s fresh, and it was great that we had a variety of surprises too. Like having an unplugged session for the first time.

―― Right, the unplugged session sure was wonderful. Rather than simply playing an acoustic set, you changed those songs with such arrangements, and such a display feels like it exudes the bond or experience that the band has built up over the years.

H: I’m glad to hear that.

―― Who chose the songs for the unplugged session?

H: That’s Imai-san. Initially, our staff happened to blurt, “What do you think about doing something like this once in a while?”. I wonder, did they probably think, “Maybe the band doesn’t like doing such things”?    But it felt as if everyone wasn’t as against it as they (the staff) might’ve expected (lol). Like, “It’s worth giving it a shot, isn’t it?”.

―― Hahahahahaha.

H: It’s not that we’re particularly against it, but I guess it just never really came to mind. And when it was brought up there and then, we thought, “Ahh, right. There’s that kind of option too”. Then, Imai-san said, “I have an idea that might work so I’ll rearrange the songs.”

―― Ahh, thank goodness for that.

H: Surprisingly, we weren’t nervous either. I think it might be the first time since Koenji’s Pal Studio (note: the rehearsal studio that they used immediately after they first moved to Tokyo) that us 5 squeezed together and played in such a small space (lol). We used to rehearse like that all the time.

―― The way you went to the centre stage was also surprising, though.

H: It was unexpected, wasn’t it (lol).

―― Even though you could walk there from the stage extension as per usual (lol).

H: At first, we were told to do that, but then we were told that the walking distance was far. Then, it got to, “Well, isn’t it shortest if we walked through the audience seats?”.

―― I think the distance is probably the same, though (lol). But it was nice to feel like something impossible had happened.

H: It was surprising, wasn’t it? I suppose (the audience) was especially surprised on the first day (lol).

―― I thought that it would’ve been nice if you spent a little more time on the stage extension, though (lol).

H: But we weren’t wearing in-ear monitors, so we couldn’t really go to the front of the stage extension. The sound gets muffled and we won’t be able to play at all. Imai-san goes anyway without a care at all, though (lol). But for songs that hinge heavily on the rhythm, we couldn’t really leave the main stage. “GUSTAVE” can be played crudely so I went in front, and it was pretty nice (lol).

―― It was also great that the sound output for “RONDO” was 5.1ch***, along with that set for “Aikawarazu no “Are” no Katamari ga Nosabaru Hedo no Soko no Fukidamari” where Sakurai-san was being shown on the screens.

H: It does seem like it. But we (the band) can’t experience it~ (lol).

―― That’s unfortunately true. But including those set-ups, I truly feel that this really was one special live.

H: You do get the feeling of, “to think that after having done this for 31 years, there’s such a way to draw^^^ out a part of us that even we weren’t aware of”, don’t you? And, “to think that putting all of that together can actually produce something as interesting as this.” I suppose it’s nice, once in a while, to do things like this.

―― I think that the unplugged session also opened up a new way of expression (for you).

H: But if we do that every time, won’t it become washed out (lol)?

―― Well, I guess that’s true. It’s also a little different than the full-blown types typically performed at Blue Note^ or Billboard^ and the sort, isn’t it?

H: I wonder if we can be that legitimate (lol). Well, it’s fun to do that for a bit, isn’t it?    Though, I do want to do this again someday.

―― The flurry of falling cherry blossoms during “Sakura” was great too. There was quite a lot fluttering about today, wasn’t there?

H: There really was quite a bit (lol). It was a bit more modest yesterday, though.

―― Ah, was it?

H: Yeah. Yesterday, the stage director said, “Ah, it looks like it’s a little too little today~. Sorry, we’ll have more of it tomorrow.” So, I wondered what it would be like, and today, there was so much that it’s as if there was no end (lol).

―― Hahahaha.

H: It was great that Sakurai-san’s health is back to normal too.

―― Indeed.  During the members’ introduction today, he suddenly started with, “On vocals, Sakurai Atsushi!” How rare that he started off with himself (lol).

H: Ah. He does that some times, introducing himself first. I guess, maybe he felt like that.

―― Perhaps. And, it was announced today, that you’ll be holding THE DAY IN QUESTION in December.

H: Since the Nippon Budokan was undergoing renovation works, I was wondering how we were going to do it this year, but through everyone’s hard work, it’s great that we were able to fulfil the promise that we have always kept. It’ll be the first time that we’re playing at Yoyogi Gymnasium too.

―― There’s still a lot to look forward to.

H: Well, we’ll be staying in the basement to write songs for a while. And it looks like our schedule is getting filled bit by bit. We’ll be performing at a few locations for December’s THE DAY IN QUESTION, and maybe we’ll go on tour again next year?

―― There’s no time to rest.

H: I think of that as happiness so it’s alright. Because even now, today, this many people are willing to come and see us. Mm…… BUCK‐TICK is my happiness.

―― It sure is.

H: And also, the bandmaster^^ will be giving me all kinds of things to do in the near future, opening up new drawers^^^ for me.

―― Let’s open up Hide-san’s drawers^^^ too!

H: But my drawers^^^ don’t open and close smoothly (lol).

 

 

 

 

Notes:

* It would appear that this particular interview with Hide is an annual special called “6月の風物詩”. “Fuubutsushi” (風物詩) is defined as “something which is reminiscent of a particular season” or “a poem about natural scenery or a particular season”. 

** There was merchandise on sale that featured the band members drawn in the art style of Gegege no Kitaro, with which they had a collaboration in the form of the song Rondo being used as the 5th ending theme song of its 6th anime adaptation. This particular run celebrates the 50th anniversary of the original 1968 anime.
The art in question can be found here (scroll down): http://buck-tick.com/news/detail/10507/ 
Or:

*** A surround sound system that uses five audio channels plus a subwoofer channel (the “1” in 5.1). Widely used in home theatre systems, DVDs are often recorded in 5.1 audio encoding technologies (see Dolby Digital and DTS).

^ Blue Note Tokyo is a jazz venue in Aoyama, Tokyo, Japan. It is a branch of Blue Note Jazz Club in New York and located about 400 metres east of the Aoyama Gakuin University. It has been described as Tokyo’s best venue for live jazz.
Billboard Live Tokyo is similar to Blue Note Tokyo in the sense that both are venues for more intimate performances.

^^ Sounds like he’s talking about Imai lol.

^^^ 引き出し (hikidashi) as a verb would mean, “to draw out”, while as a noun, it would simply refer to “a drawer”, literally the ones in your cabinet. It looks to me that they’re doing a bit of wordplay in the last few instances.

 

 

 

Translation: Yoshiyuki
Scans: patowinds on Tumblr 

 

 

[Live Report] Locus Solus Bestia

Ongaku to Hito
July 2019

text by Ishii Eriko
photographs by Tanaka Seitaro, Tatewaki Taku, Watanabe Rena_tanaka seitaro photo office

 

Makuhari Messe International Exhibition Hall 9・10・11
2019.5.25 (Sat) /5.26 (Sun)

Their first-ever live performance at Makuhari Messe throughout their long career. Here, they’re not looking back at the path they have walked and neither are they firing things up with a festive mood. Instead, they put on a stage which shared their feelings with each and everyone one of their fans who has gone through all the varied moments in their 31-year long career with them.

The songs they picked were inspired by the event title, “Locus Solus Bestia”, so there were many which were influenced by goth, decadence, and new-wave, but there was also a strong consciousness of “discordance” which stuck out from this ordinary world. All these individuals gathered in such a place triggered a groundswell which brought them pride in being nonconformists. And today’s report is of precisely such a wonderful night.

 

 

 

 

 

SETLIST

01 Kemono-tachi no Yoru [獣たちの夜]
02 GUSTAVE
03 PHANTOM VOLTAIRE
04 Lullaby-IlI
05 Shanikusai -Carnival- [謝肉祭 ‐カーニバル‐ ]
06 Kirameki no Naka de… [キラメキの中で…]
07 Aikawarazu no “Are” no Katamari ga Nosabaru Hedo no Soko no Fukidamari [相変わらずの「アレ」のカタマリがのさばる反吐の底の吹き溜まり]
08 ICONOCLASM
09 Future Song -Mirai ga Tooru- [FUTURE SONG ‐未来が通る] (25th)
    Thanatos [タナトス] (26th)
10 BABEL
11 Moon Sayonara wo Oshiete [Moon さよならを教えて]
12 Misshitsu [密室] (25th)
     Tight Rope (26th)
13 RONDO
14 THE SEASIDE STORY
15 BRAN-NEW LOVER
16 DIABOLO

ENCORE 1

01 Suzumebachi [スズメバチ]
02 BOY septem peccata mortalia
03 Keijijou Ryuusei [形而上 流星]

ENCORE 2

01 Ai no Uta [愛ノ歌]
02 Sakura [さくら]
03 HEAVEN

 

Gothic and decadence, immorality in fantasy
From the stage comes the heavy fragrance
Something that is less than welcome under a vibrant blue sky

What rang out at the end was a certain affirmation. That staying like this is fine. That they want to go on, or perhaps, live on like this. That is the magnitude of the scale which accepts this world as it is; this world that we, that these people in this venue has been pulled into. Everything is alright. Perhaps, this may even be a new frontier for them.

Locus Solus Bestia; held at Makuhari Messe over two days. The opening song was “Kemonotachi no Yoru”. This song can be said to be the main theme of this one-man, and to suddenly start with the core of it shows their strong drive. With a “Yeah”, Sakurai Atsushi boldly reaches out both arms, and as he sings, “That’s how you are,” he points to himself. Interpreting this, it sounds as if he’s saying, “Welcome to the circus’ big top, I am your harlequin”. Imai Hisashi, who added in guitar riffs which were not part of the studio version of the song, had the charm of an adept pierrot.

During the interlude of the next song, “GUSTAVE”, the sight of Imai, Hoshino, and Higuchi walking down the stage extension in a line was the best. As if saying, “Now, go!”, Yagami Toll watches the pierrots dashingly parade before him without losing his smile. Is his (?) true form the Pied Piper of Hamelin* who whisks children away into another world? True or not, that’s alright. Now, take us with you.

This wish was soon granted. From the 4th song on, the atmosphere sank low and “Lullaby -III”, which hasn’t been performed in a long while, began. It’s a fabled song of history and materiality and delusion in perfect harmony which they have brought to completion bit by bit through this long career of theirs. Yuta switches from an electric to a double bass, while Sakurai sings as he holds a peculiar mask of gold in his hand.

The melody and the lyrics entrance the mind, while the heart gets enthralled by the guitar riffs which pull the rug out from under our feet ever so often. What country is this? What era is this? At the very least, the salty tang of the sea that can be smelt at Kaihin Makuhari Station has completely disappeared. Imagine; it feels as if we were in a thick dense forest on a mountain lush with trees. A remote secret place…… Ah, I see. So this is “Locus Solus”.

It may feel as if we were being taken, but nay, everyone wanted to be here. It was gothic and decadence, immorality in fantasy, eroticism and surrealism. Any superficial word would do. From the stage comes the heavy fragrance of something that is less than welcome under a vibrant blue sky, something that is richly rotting and fermenting in the basement. It is a pleasure which intoxicates and fills your body, that exists only here.

“Kirameki no Nakade…”, which has the famous refrain from “Swan Lake “ included in it, was so devilish that it felt as if we lost our sense of reality at the start and at the end. With this performance, it is nigh hard to believe that this song was written in 1993. It’s not that I want to say that it’s old, but the more time passes, the more it feels like a classic that has been handed down since the 18th century, like they have unknowingly created a myth. The legend of BUCK-TICK continues to endlessly distend underground, in a place unknown to those who dwell under clear blue skies.

Whether this is a “world being born” or a “world going mad”, it’s a “wonderful” one
The phrase “soar holding all of heaven” are words both directed at the band and at the gathered fans

Usually, this would end with them being described with a single statement of, “They’re underground”. But, instead, the fun of BUCK-TICK lies in their suddenly breaking barricades with pomp and circumstance as they sing, “Out of the way, out of the way”, “Moving on, the future is here”. As if waking us from the illusion, the middle of the concert turned aggressive but in there, their impressive rock-band dynamism and pop-ness are reflected.

Like the imposing single, “BABEL”. It’s a world apart from how songs that hype the audience up typically sound, but it is a song which nullifies the subservience that whispers from the beyond and instead has us feel a toughness that makes it feel like it is even possible to grab hold of the sun. Tough and gothic; although they may sound like conflicting words, there was no such contradiction on stage. Whether they get called unorthodox or whatsoever, what they have obtained is the unwavering strength of those who truly believe in their path. Raising his right up straight towards the sky, Sakurai was representative of this.

But those weren’t the only contradictory words. While tough and unwavering, the present BUCK-TICK also laments the transience of life at the same time, thoroughly washed in the quivering heart of a lady. Following this was a song of farewells, a confession of mercy and forgiveness, and a fanciful mermaid’s love song. All of it, including their performance, is part of the conscientious manner that they perform their work with. During the performance of “Moon Sayonara wo Oshiete”, a remarkably brilliant full moon was projected onto the screen at the back of the stage; it was perfectly fitting. This must be the world’s most beautiful lie.

Tonight I’ll stay on that stage till the end. That was what Sakurai declared at the start. In other words, he was going to create the perfect fantasy. Originally, the moon waxes and wanes regardless of sentiment, and the night sky will never always be clear. There are cloudy days and there are rainy days. It is our reality that we won’t be able to see the night sky so clearly, to begin with. With the ideal full moon floating on the stage, what this perfect farewell song sings of is the ardent expression of yearning for this moment, at least, to be as beautiful as a dream. May this lie light up your life if even just a little.

The hierarchical relationship between the performers and the audience blurs even further and right before the last song of the main act, Sakurai seemed to say spontaneously, “Thank you very much. You’ve all been lovely.”

It was amusing considering the fact that we felt that it should be our line, the audience’s line instead. But once again, we could really feel that this was his heartfelt emotion. It is the same for us, the audience. To love and to be loved, the save and to be saved, to forgive and to be forgiven. After a tremendously long amount of time, an irreplaceable locus for both parties has been forged. That’s why, soon, there will be no need for walls. As if inviting us to a faraway place, the beasts leapt into the audience seats as well. The highlight was the first encore.

From the cross-section of the stage extension rises a cylindrical stage from which their first centre stage performance and their first acoustic set would be performed. That, in itself, is exceedingly rare and the way they got to the stage extension wasn’t one that you would normally expect, but putting on such a spectacle is probably something that only their present selves could do. Looking at the 5 of them seated in a circle, it’s as if we can almost imagine this is their usual position in the studio with how comfortable they look. But unexpectedly, the first song that they started with was the ultimate erotic song, “BOY septem peccata mortalia”. I couldn’t help but laugh, but this, too, is aptly BUCK-TICK-like. It is the work of professional harlequins. That, and adding Sakurai’s rather dangerous smile as he sang “You look delicious baby” an octave lower than usual.

They continued playing nostalgic songs in the second encore. It was especially surprising that “Sakura” showed up here. It was the requiem which Sakurai dedicated to his mother. Although it’s unlikely that the pain would have completely healed, it would also be unnatural if things have remained the same throughout this time. Be it a sense of loss which makes one wail, or regret which rends one’s heart, he sang on, drinking all of it down. As blood ties and emotional connections grew, everything was channelled into the song. He finds joy in performing, has overcome the reality of being held back by illness while celebrating the band’s 30th anniversary, and hopes that the band will still continue on. That is himself. The professional harlequin. The melody which was once his mother’s song now resounds as “Sakurai Atsushi’s song”. The flurry of falling cherry blossoms which whirled around was breathtakingly beautiful.

Adding to that, the last song was “HEAVEN”. Were they this assured of themselves in the past? Whether this is a “world being born” or a “world going mad”, it’s a “wonderful” one. The phrase “soar holding all of heaven” are words both directed at the band and words that the band wants to hand to the gathered fans. Here is where such a world exists. Here is where we exist. Everything is alright. Let’s continue on like this from here on, too.

Lastly, announced was the news that THE DAY IN QUESTION will be held this year-end and their annual Nippon Budokan show on the 29th of December will take place at Yoyogi National Stadium First Gymnasium.

 

 

 

 

 

 

Notes:

* The Pied Piper of Hamelin is an old folktale about a piper who was hired by a town to lure rats away. But after the deed was done, the town refused to pay him the promised sum and thus, he takes his revenge on them by luring the children away.
Incidentally, BUCK-TICK once covered a song called Hamelin by LÄ-PPISCH. Have a listen here.

 

 

Translation: Yoshiyuki
Scans: patowinds on Tumblr

 

 

Kemonotachi no Yoru/RONDO Feature

PHY vol. 14
June 2019

Photography: Hirano Takashi
Interview: Ishii Eriko, Kanemitsu Hirofumi
Hair & Makeup: Tanizaki Takayuki, Yamaji Chihiro (FatsBerry)
Styling: Shimizu Kenichi

 

As long as we think that something is interesting, all 5 of us will be looking in that same direction. We can do anything
After all, there’s no discomfort within the band; we’re a cluster of potential. Regardless of how old we get
– Imai Hisashi

 

As they welcome their 31st year together, BUCK-TICK announces a new start with the release of their double A-side single, “Kemonotachi no Yoru / RONDO”, on the 22nd of May, and their live concert, “Locus Solus no Kemonotachi” which will be held on the 25th and 26th of May at Makuhari Messe International Exhibition Halls 9, 10, and 11. One is a significant single while the other is a live show which holds much meaning.

Even after their 30th debut anniversary concluded last year, they show no sign that their activities are slowing down. Why has this rock band, BUCK-TICK been able to thrive for 30 years without any change in members? And furthermore, open new doors even now?

Their story has often been put away with the cheap assumption of “a miracle”, but that is not the case. Just one part of the “reality” is that they have acquired all of this because of the implicit trust that they (the members) have in the band. These interviews with each of the members done right before their live performances, once again, confirm that fact.

Come now, it’s a party for deviants. It’s time to rip through the curtain and let the night begin*.

* Reference to first 2 lines of Kemonotachi no Yoru.

 

 

 

 

Individual Interviews

_______________________

Sakurai Atsushi

I suppose these words came about because we had a concert like the one last year
To say that I’ll be there until the end, whether I’m laughing or crying, I’ll stay until the end

Interview by Ishii Eriko

―― Did your feelings towards concerts change after getting admitted into hospital last year?

Sakurai (S): Ah, I feel that yes. Like, “I can do this.” When I was younger, I used to have frivolous thoughts like, “The heck, I have to perform today?”. There was some defiance and I’d go up on stage without giving it much thought, though. But even before I got hospitalised, during these few years, I’ve been as conscientious as possible (about the things I do). Including recording, I have been thinking that I want to do things conscientiously, you know? For example, even if it’s painful, I’d want to bring out the vibrato just a little before that pain. Or, although this (part of the song) is of a key that’s right at my limits and I can’t always sing it, I want to somehow use my body to convey it. Something like that. That’s what I’ve come to feel.

―― Even with your actions, you’re conscious of your every move.

S: That’s true. Moment by moment, (with thoughts like) maybe if I paid a little more attention to this fingertip here it’ll look even more beautiful, and so on…… Although, I might also forget the lyrics.

―― Fuhahahaha.

S: In my case, that will happen if I think too much, though. But (I’d still find myself thinking), since the light is this colour now, if I go there my complexion will turn into that colour, and so on. I think I’m happiest when my brain works at full capacity while thinking about these things with each passing moment.

―― To even consider something like the angle of your fingertip is very meticulous of you indeed, but do you think the content of your performance changes when you put your heart into it and pay attention to those areas?

S: Yes. I believe it does change. Of course, 0 can only be conveyed as 0. I think if I were to (successfully) convey that, the receiving party probably has a very active imagination though. But if I were to go for 100, I can convey that through 1 or 2, and if (what I do) can resonate with those listening or watching…… That’s a really lucky thing, isn’t it? Because if (what I do resonates with them when) it’s 0, then (this result is) just a fluke.

―― So, the present Sakurai-san feels that in any case, he wants to conscientiously bring out that 100 even if he only conveys 1 or 2.

S: If possible. Of course, I don’t expect to attain 100, but…… I do aim to get around 95 points.

―― In terms of album releases, around when did you start keeping conscientiousness in mind?

S: Quite recently, actually. During the album Arui wa Anarchy, I did think that it might be nice should the particularly conscientious areas overlap with the spontaneous things. But we talk about works prior to that, when I listen to them, I do get a sense of, “Well, look at that, I’m capable of it, aren’t I?” But when I watch the live footage and listen to the live audio again…… I feel that it’s a mess (wry smile).  Well, being in the heat of the moment is good, but if I listen to it on my own when I’m composed, there are parts that leave me disappointed. (I would think,) if I pushed a step further and held that lingering note for a bit during that difficult moment at that particular point in time, if I could use vibrato, I would be able to (perform) to my satisfaction. During recording, I can keep redoing things numerous times so that’s fine, but it’s the unfiltered things which I do live that shows the level of my actual ability, right?

―― In these statements, too, I can sense the weight which I felt from the lyrics “Tonight you stay on that stage till the end” and “Yes, that’s you*” in Kemonotachi no Yoru.

S: Yes. This is what I’m saying to myself.

―― It’s not “go on stage”, but rather, “stay on that stage till the end”.

S: Yeah. Well, I suppose these words came about because we had a concert like the one last year at DiverCity. To say that I’ll be there until the end; whether I’m laughing or crying, I’ll stay until the end. This comes from what I’ve experienced.

―― You’re making a strong statement with those lyrics, and they don’t tend towards hesitation or sadness or (self-)pity, do they?

S: That’s right. I wonder if I’ll exude that even if I kept quiet. My own personality. Because I think that mingled feelings of joy and sorrow are exuded with a single mention of the word “clown”, or pierrot. I’ve made it such that it won’t be explained any further than that.

―― Does Sakurai-san consciously desire to play the role of a pierrot?

S: That’s right. That’s because it’s a professional job, so to speak. To play the role of a clown or a pierrot as a part of BUCK-TICK. This is definitely not in the sense that we’re making fun (of these professions), but rather, it’s with respect (for them). To have such an ability to make people laugh while crying. I think it would be nice if I could (embody) such a role in spirit.

―― So you consider bringing laughter as part of your role too.

S: …… In my case, (people will) naturally laugh for me, so.

―― Hahahaha. You’re definitely aware of that.

S: (They would,) right?    I think.

―― Yes (lol).

S: “Yes,” you say (lol). I have no intention of making people laugh. Also because it’d be really boring if I’m trying to make people laugh, right? In my case.

―― Yes…… is not something I can say, is it? (Lol). The stage where a pierrot belongs is, of course, the circus, and I can sense your yearning for it only grows stronger year after year. 

S: That’s true. I suppose it’s the atmosphere that it possesses, or perhaps the unique appeal that it has. There’s the front stage that focuses on how they will entertain the audience, but there’s also a backstage where things are absolutely frantic. Of course, the front stage is where there won’t be a single hint of that franticness at all, though. And people from all over are gathered on this one stage. That’s similar to a concert where everyone is very excited and fired up, but time passes after all, and what’s left after that are seats without an audience and an empty stage…… Such moments are, again, melancholy. Even though that was where the spotlight shone, it ended up lonely in the end. I think that this feeling is even more depressing than a concert when it comes to a circus. Like, when there was a big top in this place just yesterday but now it’s already gone.

―― Because it’s turned into a vacant lot surprisingly quickly, right? And the troupe has already moved on to somewhere else.

S: Yeah. Really. That feeling which you get; as if that was all just a dream. It’s nice, isn’t it?

―― That’s different than the admiration that one might have for a rockstar who travels around the world on their private jet, isn’t it?

S: That’s right. A rockstar…… What’s that like? I wonder.

―― For example, the Rolling Stones, where the sight of their signature mouth logo** makes all their fans go crazy.  And being able to sell a ticket for tens of thousands of yen just because, “Mick and Keith*** will be playing, it’s the real thing!”  That side of the entertainment industry is distinctly different than that of a circus.

S: Yeah, yes. A rockstar…… That can’t be me, and I can’t describe myself as one either.

―― You still say that even though you’ve been in a band for 30 years?

S: I just can’t think of myself as someone like that at all. I’m not very good at meeting people, and even if people are going “kyaー kyaー” for me…… Well, it’s just for those two hours anyway (lol).

―― It’s probably those who want people to go “kyaー kyaー” for them throughout 24 hours who can stand before others as a rockstar.

S: That’s why I’m the opposite. I’m more of a “please leave me alone” type.

―― Yet despite this, when you put on the pierrot’s makeup, you’ll be able to stand before others without hesitation and stay on stage until the end.

S: That’s right. It’s like flipping a switch. But well, if you ask me what I’m capable of, or what is it I enjoy, that’s really the only thing. Maybe it sounds cool if I say, “The only thing I have is singing,” but that really is the only thing I have. In the end, being able to go up on stage and perform is all there is. Song by song, playing the different main characters in different settings. Performing until the very end and hoping that I managed to ignite the imaginations of those who were watching.

 

I can’t exactly make a decision on my own accord because we’re a band
I want to keep going for as long as all of us still want to keep performing together

 

―― Though, if I may, I believe there are people who are of the opinion that if a rock band says that they are “performing”, then, to put it bluntly, “They’re not being real.” How would Sakurai-san argue against that?

S: No, well…… I won’t argue. Because I don’t want to fight (lol).

―― I see (lol).

S: But everyone does things however they see fit, don’t they? So, I think that’s perfectly fine. I respect them, those people who have always done what they love. No matter the style, I think it’s alright as long as the person’s heart is in it.

―― Indeed. Also, the Sakurai Atsushi who Sakurai-san performs as is certainly no lie. No matter the song, you’re immersed in it and I think that’s great.

S: I don’t have the dexterity to detach myself to that extent.

―― And the other song, RONDO is already being aired on Gegege no Kitaro, but was it only composed because of the tie-up?

S: It came about because of the tie-up, yes. I think Imai-san was probably aware of that too and ended up composing the song for it. When I heard (that we were collaborating with Gegege no Kitaro)…… Well, I guess I’m like a yōkai too so I thought that would be interesting.

―― And as a result, you have two songs of beasts and yōkai.

S: Hahahahahahah.

―― But it certainly is a very beautiful song. Was it the melody which triggered the image of dancing endlessly in a dream for you?

S: That’s right. It’s because I wrote the lyrics while listening to the melody without really thinking about the yōkai. I thought that this, too, felt like one of the many sides of BUCK-TICK, like a signature song. Though in the beginning, I was worried about whether it was alright to go about it like this or whether I should twist it a bit and change the vibe instead.

―― But you wrote it in a straightforward way in the end.

S: That’s right. In the end, it was straightforward. I did try a few different ways, though. But I felt that this one fit best. Simple and like our typical selves. The working title had always been RONDO right from the start, so I simply wrote in consonance with the original image without needing to forcefully twist and bend it towards another direction. But then I thought that I should keep the words very simple. It feels as if I meandered through twists and turns and then came back to the starting point.

―― For many years, one of the themes that Sakurai-san has depicted (in your lyrics) is the sense of dreaming, or being in a dream that one cannot wake up from.

S: I suppose…… it’s because I’ve always been escaping from reality since I was young. (Diving into) things like worlds away from reality, fiction, fantasy, and that imagery of the Kitaro which I watched when I was a child. I was definitely immersed in it, that mysterious atmosphere, because I was a child. Because the old Kitaro was much more horrifying.

―― That would normally scare people, wouldn’t it?

S: Yeah. But (to me), it feels like that’s still better than reality. That said, although this isn’t my true starting point, I wrote the lyrics by returning to how I felt when I used to watch Kitaro.

―― Did you love it?

S: Yeah. That original touch of Mr. Mizuki’s^. There were quite a lot of tales of yōkai in the late 1960s and early 1970s^^. I loved those yōkai stories so I watched it a lot.

―― So before music, you were captivated by a mysterious, slightly scary world. What’s learned in the cradle is truly carried to the grave^^^.

S: Yes. I suppose that appears to be so.

―― And now, this single is leading into the 2-day event at Makuhari Messe. What is going to happen here?

S: Our staff came up with a variety of stunts based on things we haven’t yet done thus far. Though we ourselves are still kind of unclear about things (lol).

―― Does that mean that you’ll be preparing something that goes above and beyond what we would expect of a typical concert?

S: No?    It’s a regular concert. However, there will be things that we have never done before. Though I think fans may have never seen it before either.

―― I wonder what it is. Can you give us a hint?

S: A hint……… But if I say it, I’d get in trouble if we end up not doing it during the concert (lol).

―― Ahh, as in, there’s quite a lot going on so you can’t do it in the end? (Lol)

S: As in, I think there might be some grown-up business` (in the way) (lol).  Well, but, presentation style, you know? (That’s) one of them.

―― And now that your 30th anniversary has passed, does it feel like yet another fresh start, or perhaps, like you’re heading towards something new?

S: Mm…… Well, whatever it is, that’s what it’ll feel like in the end. Though it was a little bit irregular since 4 dates of our live house tour ended up getting pushed to this year. But, well, guess this year does have (the significance) of a fresh start and also a beginning after all.

―― The band will, of course, keep on going in future too, but honestly, have you thought about how much longer that can go on for?

S: …… Well, as long as my body and my voice can. Though I’m thinking that it would be nice if I could keep going until 60.

―― That’s a specific number, though.

S: Ah, noー, it’s just that when I get asked about it, that’s the nice, round number which comes to mind. That’s all. Of course, there are also people who are still going strong even at 70, so it’s not as if it’s a complete stop once I celebrate my Kanreki“, though.

―― Anii-san is also almost 60.

S: …… Ah, I guess it’s about time for us to get a red chanchanko`“ (for him).

―― (Lol) I suppose, with such an unprecedented existence, you no longer know how to end it, do you? Like, do you draw the curtains by your own hand, or do you keep going while you still can?

S: Well, because we’re a band, right? I can’t exactly make a decision on my own accord. But, well, my ideal is that I want to keep going for as long as all of us still want to keep performing together.

―― Is it scary to think about the end?

S: …… I can’t imagine it. I’ve also been sick before but…… There’s no other way I can put it except to say that if it happens, it happens. Though on the topic of dying, I think I’d prefer to be the first to die.

―― Ah, because you don’t want to be left behind?

S: Yes. It’s the same between a married couple, right? Where you’d feel that it’ll be more painful to be the one left behind.

―― But that, I think, is how everyone feels.

S: Hahahaha. That might be true. If that’s the case, then I’ll stay behind (lol).

 

 

Notes:

* I usually take lyrics translations from This NOT Greatest Site, but for this line, I went with a more literal translation to fit into this context. The original text is “それがお前だ” (Sore ga omae da).

** This one.

*** Mick Jagger and Keith Richards.

^ Mizuki Shigeru is the manga artist behind Gegege no Kitaro. He passed away November 2015.

^^ More specifically, 1965 to 1974. This period was referred to as the 40s of the Showa era.

^^^ The phrase used was “三つ子の魂” (mitsugo no tamashii), the shortened version of “三つ子の魂百まで”(mitsugo no tamashii hyaku made).

` Saying something is “grown-up business” may imply that something is “none of your business’” and is pretty much a pretext for not revealing something.

” Kanreki is the celebration of the 60th birthday. The 60th birthday of a person marks the end of one cycle in the zodiac calendar. which signifies returning to your birth year and beginning a new cycle. Part of the celebration includes the wearing of the red chanchanko (mentioned later) and cap by the person celebrating his 60th. Just imagine our old men wearing this.

“` A chanchanko is a sleeveless haori worn by children and the colour red is believed to have an effect of protection in Japan and people would put red clothes on newborn babies. In line with the significance that the 60th birthday means the return to your birth year.

 

 

Return to Top

_______________________

Imai Hisashi

“Locus Solus” gives the impression that we’re non-conformist, but on the other hand, we make our own way
When such people gather, it’s quite something, isn’t it?

Interview by Kanemitsu Hirofumi

―― You’ve still got rescheduled concerts left to perform, but it’s about time for you to start rehearsals for Makuhari, isn’t it?

Imai (I): Mhm. Right now, I’m in the midst of arranging songs for the Makuhari live. About 3 of them.

―― Oh! You’ve decided to do a variety?

I: While having decided to include unusual songs that we haven’t performed recently, we also thought of trying arrangements that are different than what we’ve done thus far.

―― Did you intend to hold such a live performance from the very beginning?

I: Nope. Initially, we gave it a title which inspires intrigue and thought that it would probably be good if we could get an idea of what the live would be like from there.

―― I see. So, you expected something to come from the title of Locus Solus no Kemonotachi.

I: Yeah. And then our staff offered a lot of ideas which made us feel that things could definitely get interesting.

―― So, there’s no special meaning or anything like that attached to the title.

I: No, no. However, it’s not a tour anyway…… Well, the postponed concerts have been (added into this year’s schedule), but originally, it was a performance that was supposed to happen suddenly over 2 days in May, so I guess you could say that we wanted it to correspond to that. Like, I guess we wanted to make it feel like it’s something enthralling.

―― In other words, there’s no profound meaning behind “Locus Solus” in the title?

I: I just thought that it sounded intriguing. There’s no special meaning behind it. That book was published as a hardcover edition when I was in my 20s, and I thought that it seemed interesting so I bought it from Roppongi’s WAVE*.

―― Roppongi WAVE!    How nostalgic.

I: There are a few volumes in that series but I was intrigued by the call of Locus Solus so I bought that one.

―― You know, I have an acquaintance who works in Heibonsha** and they suddenly called me and asked, “You know BUCK-TICK?”

I: Hyahahahaha, for real!

―― Apparently, it caused a stir because this foreign literature whose stocks don’t really move suddenly started receiving a ton of orders and they got wondering, “What happened?” (lol).

I: I heard about that (lol). It’s hilarious.

―― I also read Locus Solus when I was in university, but I gave up soon after I started. It was impossible to understand what the hell it was going on about.

I: It’s like it doesn’t really have a storyline and neither was there anything particularly interesting in it. No matter how much I read, I still didn’t quite understand it. But (the more you read it) the more it overflowed with images, like it exceeds your imagination. That’s why I think that it isn’t necessary to start reading it from the first page. I think you can just open a random page and look at what’s written there. 

―― In short, are you saying that what’s interesting about “Locus Solus” is the way the sound of it makes people wonder what it is?

I: Yes, exactly. I didn’t know what it meant, so just as I was thinking that it would be good to use as the event title, I went to look it up. And it says that it means, “a solitary place”. I felt that it could also imply a non-conformist connotation too, so that was interesting.

―― Like a generic term which includes both BUCK-TICK as the band and the fans who follow you.

I: Exactly. It also gives the impression that we’re non-conformist but on the other hand, we make our own way.

―― But being non-conformist, doesn’t it bother you that you can’t really assimilate with those around you?

I: Not particularly. Isn’t it good? Non-conformity.

―― Do you feel that you’ve always been like that?

I: Nope, not at all. I might’ve noticed something before, but I don’t think I’ve thought of being in such a position in particular. But when such people gather, it’s quite something, isn’t it?

―― Indeed. And now, what you’re feeling and visualising from the words “Locus Solus” has been projected into the songs.

I: Exactly. Because we have 2 days (of performances). We want to have different setlists and try doing what we’ve never done before too.

―― But last year-end, Sakurai-san took ill and you had to postpone your tour.

I: I was shocked.

―― Was there no sign of it?

I: Not at all. My room backstage was separate from Sakurai-san’s too.

―― Right, you do that to focus.

I: Though, when we passed each other right before the performance in the corridor backstage, he had a hand on his hip. And I got the feeling that he seemed to be pressing heavier than usual. I did wonder, “Huh, what’s with him?” but he didn’t say anything, so I didn’t give it much thought. But the moment the performance started and he sang, I thought something was weird.

―― It was obviously different than usual, wasn’t it?

I: Like, he wasn’t quite pushing himself as hard.

―― I was worried.

I: Because (his condition is) something that only he would know best, right? It isn’t something that will somehow remedy itself just because you work hard, and I did consider that maybe we might have to stop halfway, and even if we did, it couldn’t really be helped. But that particular day, he said, “I’ll do this.”

―― It’s as if his will was just that strong.

I: I guess he didn’t want to feel like he messed up. I think he hated the idea of finishing only the main set and then making an announcement to forcibly bring the live to a close by skipping the encore. You see, we could only leave that decision to him. I guess, perhaps he felt that he could somehow make it to the very end.

―― Having such an incident occur, does it make you uneasy?

I: For the future?    Well, maybe such things would happen. I suppose our physical strength would decline on its own anyway, and it’s only natural that the substance of our exterior would deteriorate too. But I haven’t gotten the feeling that my senses are waning yet, anyway.

―― Ahh, I see.

I: Well, I guess we can’t neglect our health (lol). But although I don’t really think about it, I suppose I’m alright. Because bands can take any form no matter how old we are.

 

Things I want to do come to me, and I’d wonder, “What should I do with this?”
But I have the confidence that if it’s us, we’ll be able to give it shape.

―― And you’ll be releasing a single. RONDO has a tie-up where it’ll be used as the ending theme song of Gegege no Kitaro, but what was your concept for Kemonotachi no Yoru?

I: This was in my stock. It’s completely different now, but the demo which was made from that riff was there. From start to end. But I completely forgot that it existed. I opened a folder in my PC and saw it, then when I wondered what it was and opened it up, this was in there (lol).

―― Right. Listening closely, this song is made of the one same riff going on from start to end. I thought that it’s got quite a crazy composition and it really turned into a good song (lol).

I: I thought, “Oh, right I made that. Ah, this is cool.” And making use of that guitar riff and the vibe of that demo, I redid it from the start and turned it into Kemonotachi no Yoru.

―― You completely forgot about its existence.

I: But that’s because the original melody was utterly uncool. I thought it’s a good thing that I didn’t forcibly turn that into a song and release it (lol).

―― Hahahahahaha!    When was this demo from?

I: Probably STEPPERS -PARADE‐ (released January 2014) or sometime around there, I think. I thought maybe there was a bit of a riff left behind, but when I opened up the data, the whole song was there. When I listened to it, I thought it was reeally cool, and then I wondered if there might’ve been songs that I forgot about so I went looking around, but there wasn’t anything else (lol).

―― Hahahahahaha!

I: It’s the same with RONDO. This song had a previous melody too. But I completely changed up the tempo and all that, flipped the chords around, and redid it from scratch for it to be used for Kitaro. There’s no longer any sign of its original self though (lol).

―― It’s a song perfect for Kitaro, isn’t it?

I: Yeah, I didn’t expect it to fit so well. When I first heard that it was going to be the ending theme song, I got stuck wondering how we should do this, but after thinking about it for a bit, I realised, “Ah, this is something only we can do.” After realising that, I really wanted to do this.

―― Is it because the worldviews that you have are very similar?

I: Though don’t you think it’ll be really fun if we did the opening theme song instead (lol).

―― Hahahahahaha!

I: With an arrangement similar to DIABOLO’s (lol).

―― I’m imagining Sakurai-san singing “Ge, ge, gegege no geー” ^ (lol). Did you use to watch Kitaro a lot in the past?

I: It’s not as if I had to catch it, but I watched it. It’s the same as Sazae-san^^, like it’s only normal to watch it.

―― The characters look funny, or rather, they have a kind of cuteness to them, but there’s an air of creepiness in the background, like there’s a Japanese-style terror sleeping underneath.

I: That’s what I like about it.

―― It’s just like how BUCK-TICK sounds pop but there’s a creepiness somewhere in there, right?

I: I guess that’s how it’ll seem if you twist it that way (lol). Also, I was absolutely sure that it would be aired in the evening so I was surprised.

―― Ahh, that it was being broadcast at a time slot that’s more like Sazae-san’s?

I: Because I assumed that it was going to be during that kind of a melancholy time slot. But then it ended up getting broadcast in the morning. Quite a lot of kids watch it, don’t they? When I went to kindergarten to pick the children up, kids I didn’t know at all started coming up to me to say, “I watched Kitaro!”

―― Hahahahahahahaha!

I: So many of them started talking to me (lol). I never expected to get such a reaction from 4 year-olds.

―― You’ve opened up a new fan base (lol). Though, when we consider Sakurai-san’s lyrics too, I’ve said this numerous times, but there’s a sense of creepiness there and something similar to terror in the back, which makes it typical of BUCK-TICK, doesn’t it?

I: I knew that if it was Sakurai-san, he would fit in lyrics with a great vibe, so I wasn’t worried at all.

―― Did you intend right from the start to have Kokusyoku Sumire take part?

I: Not in the beginning, but after making the demo, I thought it might be better if we had a violin and an accordion in it as well. So, there wasn’t anything else to do except ask Sumire-san. Though, what I failed at was that I forgot to tell them that this was going to be the ending theme song for Kitaro (lol). Then I worried that they might insert something different (than what we were aiming for). But we liked it a lot in the end.

―― And for Kemonotachi no Yoru, it might’ve turned out the way it did as a result, but it seems like it was meant to be Makuhari’s theme song.

I: Uhhuh. I really like it.

―― What do you think of Sakurai-san’s lyrics?

I: I think it’s already a perfect fit. In the beginning, the working title for the demo was “Autobahn”. Then even after Sakurai-san gave it those lyrics and finished recording the song, it was still “Autobahn”. So I was getting worried about that. And then Sakurai-san said to me, “Hey, this isn’t going to be called ‘Autobahn’, is it?    I think the lyrics are completely different (from that title) though,” and some days after that, I changed the title.

―― I see (lol). So after you release this single and finish the performance at Makuhari, what do you intend to do?

I: Huh, hasn’t our schedule already been decided? (lol)

―― Hahahahaha!

I: Though I’m wondering about what we should do about our album. Like, what’s next? Just vaguely. I do have the desire to compose. (I’m just wondering about) what we should do following No.0, and how we should include the two songs from this single in the next album, and so on.

―― I think that No.0 was quite a masterpiece that fully brought out a certain side of BUCK-TICK, though.

I: I think so too. But I also think that we can soon do something from a different angle, or do something that goes beyond it. It’s always been like this, but I guess it’s because even after 30 years, all sorts of things I want to do just keep coming to me be it with a whisper or all at once. I suppose we can probably do something (else) soon because I get that.

―― When you shape those feelings, do you often feel that those can’t be executed unless it’s with the band?

I: That happens a lot. I’d wonder, “What should I do with this?” But I have the confidence that if it’s us, we’ll be able to give it shape.

―― You mean, you’ll eventually be able to shape things through the band?

I: It’s the same with our band sound and programming. Because the feeling that “we have to do this (or it wouldn’t work)” disappears. I get the feeling that we can do it.

―― “Why not?”, right? But isn’t the case that in a band, everyone’s style is basically aligned?

I: I don’t know, but there are those who absolutely hate programming, aren’t there? But for us, from some point onwards, we just felt, “Oh, well then, I guess we’ll use programming.” We came to accept that and started to think about how we’re going to present that sound when playing as a band and how we can make it work. As long as we think that something is interesting, all 5 of us will be looking in that same direction. I think that might be our strongest point.

―― So, although having a sense of it is the most important thing, it’s only because you can perform it with the band.

I: Of course, that’s very important. We can do anything. Besides, although we’re a band whose members are all above the age of 50, we wrote the ending theme song for Kitaro, didn’t we?

―― Hahahahaha. That is indeed so.

I: That’s why I think we can do anything. After all, there’s no discomfort within the band; we’re a cluster of potential. Regardless of how old we get.

 

Notes:

* I managed to find a picture of it: https://www.flickr.com/photos/vigiem/2257341941

** A Japanese publisher.

^ From the opening theme song of the original run of Gegege no Kitaro.

^^ Sazae-san is a Japanese yonkoma manga series written and illustrated by Machiko Hasegawa which was turned into an anime in 1969 and currently holds the Guinness World Record for the longest-running animated television series.

 

Return to Top

_______________________

Hoshino Hidehiko

Now, we’re going on long tours but
I’ve come to wonder more often…… how long we can keep travelling like this

Interview by Kanemitsu Hirofumi

―― This is probably considered as something from quite a while back, but to start, please tell us about last year’s No.0 tour.

Hoshino (H): The hall tour was very fulfilling. We’ve always been doing this, haven’t we? Sticking with the stance of completing the worldview of the album through a tour after we’ve produced one.    This time, especially, gave me a strong sense of fulfilment. I’m very satisfied.

―― That’s because the album, No.0, was one which aroused the listeners’ imagination more than the usual production, right?

H: BUCK‐TICK has always done that since our early days but I guess this time, we managed to show it in an especially conceptual manner which included comprehensive visuals too.

―― Considering the video footage, that does indeed seem so.

H: And I think during the second half, the live house tour, the conceptual part of the performance was even more vividly expressed live.

―― But with an inconceivable incident, it made us realise that what this band expresses was something very real indeed.

H: That’s right. Well, a lot has happened (lol).

―― I was shocked.

H: But thank goodness that we were able to get through it all safely. There are a few more rescheduled performances (note: the interview was held on 19 April), but it looks like we’ll be able to do those well anyway, so they’re still good live performances even though they were rescheduled.

―― When did you realise that Sakurai-san’s condition wasn’t too good?

H: Vaguely, I did get the notion that he didn’t look well. When I saw his face during rehearsals, or when we met backstage before the actual performance, (I’d get a sense of,) “Huh? I wonder what’s wrong.”

―― I suppose he looked like he was having it rough.

H: But the tour was long too, so there were always minor worries like, maybe his throat is a little sore today, or, maybe he’s feeling a little feverish, and so on. But once the live performance started, the sight of a Sakurai-san I’ve never seen before, be it his movements or the way he sang, struck me and…… I was worried. When we withdrew offstage for the encore, we stood in a circle and it was said that apparently, his condition wasn’t so bad to the point that he can’t perform. That’s what I understood.

―― Knowing that, what did you think?

H: Honestly, I thought that even if we halted the encore, it wouldn’t make a difference. I thought that it would be better to ask Sakurai-san himself, because it could be that, probably, he wasn’t in a state where he can’t perform. But he said that he wanted to continue as far as he possibly could, so.

―― Perhaps he felt a sense of duty of having to finish “Kodou”, otherwise the worldview of No.0 would not be expressed in completion.

H: Perhaps. But I think, on the inside, he felt that he could do it since it was only 3 more songs. Though, that’s a question that only he himself would know the answer to. It’s not something that we can judge on our own, is it? Because you see, everyone has prepared themselves in their own ways before they perform.

―― The tour had been rescheduled following that incident, but situations which required such measures haven’t happened recently, have they?

H: Regarding postponement…… This might just be the first time when we had to reschedule the remaining dates when we’re in the middle of a tour. Though I think we did postpone a tour right before it started in the past.

―― That was when Sakurai-san had an intestinal blockage overseas, wasn’t it? But having had such a thing happen, does it make you feel that you all aren’t as invincible as you used to be?

H: That is something I especially felt recently. Now, we’re going on long tours but I’ve come to wonder more and more often how long we can keep travelling around like this.

―― That said, it appears that since the start of the year, a number of things happened to Hoshino-san too.

H: I’ve been sick in bed the whooole time, you know. Since the New Year.

―― You’ve even lost weight.

H: I’ve lost weight…… Maybe?

―― No matter how I look at you, you’ve lost weight. I was shocked when I saw your photos.

H: My condition isn’t particularly bad, but I can’t gain it back, my previous physique. Though I thought that’s fine anyway (lol).

―― What happened?

H: After our year-end live concluded, I thought of taking it easy during the New Year holidays, but on New Year’s Day, I passed bloody stools. So, wondering what that was about, I went to the hospital and then got diagnosed with ischemic colitis.

―― What kind of illness is that?

H: It’s not as severe as Sakurai-san’s, but it’s when the S-shape in the colon gets injured and it starts bleeding there. It wasn’t so severe that I had to get hospitalised, but I had to stay at home and live on porridge for quite a while.

―― Because you had to recuperate.

H: I just kept sleeping the whole time. I had to rest, so I couldn’t do anything, and my stomach hurt too. Then, when I felt like I was getting better from that, I went out to watch a movie since I haven’t yet caught Bohemian Rhapsody. I guess I let my guard down a little or something. And just as I thought that it was about time to start songwriting, some sort of rash started breaking out all over my body. It got me all lethargic so I went to the doctor’s, and this time, it was slapped cheek syndrome*.

―― Slapped cheek syndrome; isn’t that a common infection in children?

H: That’s true, but apparently, there have been more and more cases of adults catching it too. I think it’s probably something I caught at the hospital or something, though. My cheeks turned red and it wasn’t going away at all. So, because of that, I kept sleeping while sick in bed.

―― Your room had to be isolated too, right?

H: Exactly. Because it’d be awful if others caught it too, right? But the rash gradually went away, and I had a mild fever throughout the whole time too, so I thought that I would probably recover soon and get back to normal life, but at the very end came influenza (lol).

―― That’s a triple combo of illnesses (lol).

H: That’s why I’ve been sleeping and stuck in bed for almost a month. That was my situation in January. Well, since I’ve been a-year’s-worth of sick, I’ll just take it as a sign that perhaps I won’t get sick any more this year (lol).

―― You’ve rid yourself of misfortune (lol). But that was tough, wasn’t it? I heard that you had a meeting last year-end about the single and Makuhari, but in the end, you couldn’t do anything.

H: Yeah. It had been decided that the single was to be a tie-up, so I thought that I’d have to start songwriting once the New Year passed. Because we also spoke about producing demos and song selection. However, I was stuck in bed sick throughout the whole time in such circumstances, so without being able to do anything……

―― It was all left up to Imai-san.

H: Even though I wanted to compose. But, well, it couldn’t be helped, could it?

 

Living life without regrets is important, but everyone will definitely meet their end, won’t they?
That’s why it’s very much like BUCK-TICK to finish up whatever we can do now

―― What did you think of RONDO and Kemonotachi no Yoru when you heard them?

H: It was confirmed that RONDO would be a tie-up with Gegege no Kitaro, so I thought that it really matched the anime’s vibe. Then again, I guess to BUCK-TICK, that’s a genre that’s our forte (lol).

―― Hahahahaha.

H: When I watched the anime, I was surprised by how modernised the characters had become (lol). But it’s somewhat eerie, or peculiar. That part remains the same. And I thought that suits the band very well.

―― Does that mean that even if Hide-san was present, you would’ve emphasised on that vibe?

H: Rather, I think that no matter what we do, it’ll turn out like that so it’s something that we’d compose without needing to think too much about. It wouldn’t feel good if we forced ourselves to lean towards such a worldview anyway, and I suppose we were naturally interested in this tie-up.

―― Was that how it felt since the demo stage?

H: Exactly. Kokusyoku Sumire’s accordion and violin had yet to be added but we’ve already said that we wanted those included since the demo stage, so there was already a sense that we could already envision its completed version.

―― What about Kemonotachi no Yoru?

H: It’s the opposite of RONDO, isn’t it? The vibes are completely different. I don’t know whether Imai-san consciously did that or not, but in the end, it’s great, isn’t it? The title of the song drew attention to the Makuhari live too, and we were also able to give it the perception of a kind of theme song. Even though they’re contrasting songs, both are BUCK-TICK-like, aren’t they?

―― Indeed. A song that goes round and round in circles while latched onto that which one can’t rid themselves of, and a song that says ‘this is where it begins’ and signals hope for the future. I guess we could say that it unexpectedly depicts the two sides that make this band.

H: So, don’t you think that this timing is just right? Initially, we thought that perhaps RONDO felt more like the lead track since there was a tie-up to go with it, but Kemonotachi no Yoru has a sense of speed too, and it was also a BUCK-TICK-like song, so that led the conversation to, “Why not make it a double A-side single?”

―― I think it’s especially meaningful that this single has turned out to be one that shows both sides of BUCK-TICK at the time when your live, Locus Solus no Kemonotachi (Locus Solus Bestia) will likely be a significant point for the band.

H: Exactly. The timing is perfect. Don’t you think it’s a good thing that I was stuck in bed sick? (Lol)

―― That’s not what this is supposed to mean (lol).

H: Also, for this single, there’s another mix of Kemonotachi no Yoru too. The single has Cube-kun’s (CubeJuice) version on it, but there exists another album version. That has yet another different vibe, so, I guess, maybe that might turn out to be a comparatively enjoyable song.

―― Eh, are you already looking that far ahead towards a new album?

H: Though it’s not as if we’re going to release it so soon, you know (lol). But after Makuhari ends, I expect we’d want to compose and start recording anyway.

―― Though, honestly, with your health in consideration too, don’t you think that it’s alright to take it easy for a little longer too?

H: No, no, we’re alright. Last year’s tour was lengthy, but the live performances were mainly held on the weekends anyway. In the past, we used to perform like hell**, so it’s not like this is anything to cry*** about. Being able to constantly release albums like this, to perform it on tours, to have people who await our activities; these are all great blessings.

―― That’s true.

H: I don’t think I’m that busy, so it’s alright. On the other hand, I think having things going at this pace is good for the elderly.

―― Don’t call yourself elderly (lol).

H: So, after Makuhari concludes at the end of May, I think you can probably assume that we’ll be composing and going into the studio for quite a while. After working for a bit more, maybe I’ll go for a vacation overseas (lol).

―― Hahahaha. But composing like that has become natural, hasn’t it?

H: You know, maybe it’s because I don’t want to break this present vibe. We celebrated our 30th anniversary and managed to carry out very fulfilling activities. And our 31st year has also started off well. It’s not that I’m affirming our intentions, but I think, within everyone, there is a desire to continue like this. If we wanted to rest, I suppose we would, but I want to cherish this band’s vibe.

―― Do you get the feeling that you have to perform whenever you can?

H: Ahh. Because we don’t know how long we can keep doing this considering the fact that band members may fall sick?

―― Yes.

H: I guess not. It’s natural. Though I do think that maybe I should raise my health examination rank^ (lol).

―― Hahahahaha.

H: Living life without regrets is important, but everyone will definitely meet their end, won’t they?    That’s why we’re not rushing to do (more), neither are we particularly mindful of that, I think. Those days will eventually come, but they won’t be here until they’re here. I guess you could say that it’s very much like BUCK-TICK to finish up whatever we can do now without being affected by such things.

―― I think that’s probably something that you can feel because you’ve been working with the same members for more than 30 years without a break.

H: Perhaps. Probably because we don’t feel that that there’s an end. And I think things would surely remain like this from here on.

―― And so, to prevent that, you’ll have to raise your health check ranking (lol).

H: I’ve been working at it properly every day for these past 10 years so it’ll be fine (lol).

―― Yes. I’m sure you’re looking forward to Locus Solus no Kemonotachi.

H: Because, although we’ve performed at Makuhari Messe before at LUNATIC. Fest, this is the first time that we’re having a one-man there, right? Since we’re going to do this, we thought of trying things that we haven’t yet done after performing for over 30 years, and we’ve also been thinking about various stunts, so I think that this might be something that leaves quite the mark in the history of BUCK-TICK’s live performances.

―― Like, getting suspended by wires and flying through the air.

H: You mean Yuta, right? (Lol). We intend to make it something special, something that is different than THE DAY IN QUESTION and CLIMAX TOGETHER. So, I hope that everyone will look forward to it. Like our single, I believe that this live performance would evoke a sense of “Now, BUCK-TICK sets out again”.

 

 

Notes:

* Slapped cheek syndrome, also called fifth disease or parvovirus B19, is known as ringo-byou in Japanese (lit. apple disease) because of how the patient’s cheeks would turn red from the rashes like an apple.

** The literal phrase would’ve been “performed (or worked) like a workhorse/carriage horse”, where the main implication is to mean that they were worked like slaves lol.

*** The original phrase was onomatopoeia for a baby’s wailing (ヒーヒー).

^ Annual health examinations are done in Japan. A grading system is used to denote the condition of each aspect of your health (e.g. weight, blood pressure, hearing, eyesight, etc.). The ranking ranges from ‘A’ to ‘H’, where ‘A’ means that everything is as per normal, and ‘H’ means that you’ll have to visit a specialist for further treatment.

 

 

Return to Top

_______________________

Higuchi yutaka

I guess there’s a sense that it’s another start from here on. Like the direction that we’ll be headed towards
What will happen to us, or an indication of that

Interview by Kanemitsu Hirofumi

―― What does Yuta-san think of last year’s tour for your album, No.0?

Yuta (Y): I mean, it’s something we do every time; this is how it’s always been where we basically have our hall tour and then make our rounds at live houses, right?    Even though the same album remains as the theme for both tours, the presentation style will be different. A live which creates a worldview together with the set, and a live which lets (the audience) feel the band’s visual side more strongly. I think (we do this) because by performing these two sides, the songs in the album become complete. This time, since No.0 is quite a conceptual album, we were able to execute a different style of presentation for the live houses, so I guess that made me feel that it really turned into something amazing.

―― Indeed. Within that, last December, when you were left with 4 more performances to go, Sakurai-san took ill and the performances had to be postponed.

Y: I was surprised. I thought, we really have to take care of ourselves. Especially considering that for this tour, the second half was a bit tough. Maybe that fatigue had been building up in him.

―― After having such a thing happen, what came to mind?

Y: It’s of course, but my first thought was, “Is Acchan okay?” It was the 2nd day of our performances at Zepp DiverCity, right?    Right before our performance, he certainly didn’t look too well, and even if he doesn’t typically show those mannerisms before we go up on stage, I could tell that he was in bad shape from the first song on. He kept withdrawing off-stage numerous times too, didn’t he?

―― The way the four of you followed up with that situation on stage was impressive.

Y: Because we got the feeling that Acchan most definitely wanted to see it to the end. When I heard that he went straight to the hospital after the live ended and immediately got hospitalised, I was extremely worried.

―― And then, you rescheduled 4 shows of the tour.

Y: Because it’d be better to perform in good health. It’s not good for us to make others worry while performing too, right? Though that caused a lot of trouble for our staff, thank goodness that they were able to hold down the venues for us and let us reschedule our performances.

―― Because you had to do them ahead of the Makuhari live too.

Y: I’m really grateful. That’s why things are no longer like how they were when we were young. That’s what I’ve been telling myself (lol).

―― But Sakurai-san was able to recover without complications too, and made his comeback at your annual 29th December performance at Nippon Budokan. There, you announced that you’ll be holding a 2-day performance at Makuhari Messe in May. And along with that, the announcement of your single was also made.

Y: Yeah. I think the songs turned out great on the single. I heard that (our song) was going to be the ending theme song for Gegege no Kitaro, and I felt that RONDO fit that vibe better. On the other hand, per its title, Kemonotachi no Yoru seemed like a song which was meant to be the theme of our Makuhari event, so I thought that it was being released at just the right time.

―― Well then, let’s talk about Locus Solus no Kemonotachi at Makuhari. What meaning does this live hold for Yuta-san?

Y: Well, let’s see…… Since this isn’t a live performance that’s being held around the period of an album release, I guess I’d want to do something special. We’ve always been holding such lives, haven’t we? THE DAY IN QUESTION is one that has always been going on, while CLIMAX TOGETHER is done once every 12 years. We’ve also had THE PARADE where we celebrate our anniversary with everyone, but we thought of doing one more other live where we can express ourselves.

―― It sounds like this live would be the one that has been put in that important position.

Y: That’s what we’re aiming for. We’re thinking of trying out stagings and presentation styles that we’ve never done before too.

―― Like hanging Yuta-san on a wire to fly through the air (lol).

Y: No, no (lol). That’s one thing that various people have been asking me about, but what the hell!

―― It’s a rumour (lol). But it looks to me that Locus Solus no Kemonotachi is turning into quite a significant turning point for the band, isn’t it?

Y: I don’t know whether it’s going to be a turning point, but I guess maybe there’s a sense that it’s another start from here on. Maybe, like the direction that we’ll be headed towards going forward, or what will happen to us, or an indication of that. BUCK-TICK has conceived a lot of songs in our 30 years, and among them, there are songs which we want to try playing once more. Considering that as well, I guess we want to make this a live where we, ourselves can also understand our flow going forward. You could say that we want to make this a significant live as the start of all that.

―― I see. So, Yuta-san has been in a band for over 30 years now, but going forward, what do you hope to do? What do you hope to become?

Y: Hmm. I guess I want the 5 of us to create something new. It sounds vague, but this is something that I’ve always felt.

―― Something new?

Y: Yeah. We’re not clouding over what we’ve done thus far either. We always want people who listen to us to realise, “Ah, there are songs like these too. Ah, there are songs like those too.” Because we also want to find something new, you know.

―― So, presenting that, are you going to make the old songs sound fresh once again?

Y: Yeah. We’re looking forward to it ourselves too. I think there are a variety of different ways we can do them. But I suppose we also have to create something that will be our core.

 

If we can continue as a band with the same members
And bring people joy by doing that, that’s the happiest thing for me
There’s nothing more valuable than that, is there?    I don’t know any

―― Well then, how did the recording for the single go?

Y: I guess it wasn’t that tough. The songs were more or less done in January anyway. And we even had the leeway to listen to the songs ourselves and then tweak the riffs a bit too.

―― What did you think of RONDO the first time you listened to it?

Y: I thought, “This is Kitaro.” (Lol) For Kemonotachi no Yoru, it was, “This will certainly shine at our live.” Just as I thought that it sounded like it could be Makuhari’s theme song, it turned out that the song title leaned towards that too (lol).

―― It sure did.

Y: Also, I felt that this song lets the listener feel the strength of the band. That feeling of, “Let’s do this!”.

―― I guess it’s the kind of thing you can’t lose, or rather, you’ve always had it in you, right? Also, the lyrics in both of the songs are, in a way, BUCK-TICK’s royal road, expressing the midpoint of it all.

Y: I guess Acchan really thought of it all. Especially for RONDO, it matched perfectly with the image of Kitaro, which we were doing the tie-up with. Or rather, maybe there’s a part of Gegege no Kitaro and BUCK-TICK’s worldviews which are pretty close.

―― I guess it’s the way it’s a little eerie yet it’s pop and the way the theme of life and death sleeps (beneath the exterior).

Y: It overlaps with the worldview of Acchan’s lyrics, doesn’t it? They both have their own unique worlds and I guess what comes through from that matched up. I suppose life and death is an eternal theme for us human beings after all. Besides, don’t you think that the love which is included within this is something that the anime is trying to show as well?

―― That’s true. So, what about Kemonotachi no Yoru?

Y: As I’ve said earlier, it’s like the theme song for Makuhari. I wonder if Acchan wrote it that way with Makuhari in his sights. That’s why this time, the single can be seen as something that was done in conjunction with both Makuhari and Kitaro, you know? I thought it was great timing-wise too.

―― I see. Following your release of No.0 last year, you went on a tour that had quite a number of shows, but are you able to see the vision that you have for the future?

Y: We’ve often been told, “Wow, you don’t take time off at all, do you?”, but in the end, it’s because we want to do live performances, isn’t it? It’s especially so now, I suppose. I think the groove that we 5 have now is very good, and it feels great, so the more we perform, the more enjoyable it gets. But as expected, it won’t make sense for us to go on the No.0 tour another time, right? (Lol).  Besides, we perform old songs every year during THE DAY IN QUESTION anyway, and I expect that we’ll perform quite a number of (those) songs for this time’s Makuhari performance too. That’s why we’d end up (thinking), we have to produce an album. That has been repeating these days.

―― Your activities have been uninterrupted, haven’t they?

Y: Because we, ourselves, have the desire to do it. Furthermore, each time is a little different from the last, isn’t it? For example, during the No.0 tour, even if we did recent past songs, the approach that we performed them with has changed.

―― What do they turn into?

Y: You know, they start to give the sense that they’re agglomerating. It feels like the more we perform them, the more it feels like our 5 parts are becoming one, rather than just being the vocal and the guitars and the bass and the drums. That’s why you’ll never get tired of it. Because it lets people feel that there is no doubt as we keep performing these songs, they turn into something great.

―― It’s amazing that you’ve continued to do that.

Y: Also, it’s because it’s fun to have everyone come together and create music together…… What are we, high schoolers? (Lol).

―― Hahahahaha. But isn’t that good!? 

Y: That’s true. Because there’s no stress with regards to our activities recently, you know? The only thing I can say about it is that it feels good (lol).

―― That’s why it’d be great if that situation can remain as such.

Y: Yeah. That’s the dream (lol). That’s why I have to pay attention to my health.

―― Because you’ve also arrived at a ripe age too, despite being the youngest (in the band).

Y: It’s not something that I started thinking about following Acchan’s incident, but to keep the band going, to make sure it can keep going on is tough, and recently, I’ve often thought, “That’s not something we can easily do.”

―― I see.

Y: Because I still want to keep doing this.

―― That’s a dream that you absolutely have to fulfil, isn’t it?

Y: Yeah. I want to play in a band with everyone more, to play more great music, to go to all the places around the country where everyone is waiting for us, to have fun with everyone…… This is my biggest dream, or rather, it’s what I want to do most. There’s nothing greater than that. As long as I can live well and enjoy a little drink.

―― Because desires like vigorously earning money, or becoming famous, and so on don’t exist in this band, right?

Y: We’re fine with being ordinary people (lol). I’ve said it numerous times, but as long as we can continue as a band with the same members and bring people joy by doing that, that’s the happiest thing for me. There’s nothing more valuable than that, is there?    I, at least, don’t know any.

―― Well said!

Y: But even though we’re often called a miracle, I don’t feel that way, you know? It’s the same with Great-kun’s (Great Maekawa) Flower Companyz, but we like it, without a doubt. Forming a band with your friends, performing live. And there’s also something that only those who have come this far know of. So, although it’s difficult to put into words, what’s for sure is that as long as you keep at it, you’d arrive at where we are today.

―― That’s the honour that you’ve acquired by continuing with one thing until now.

Y: That’s why I suppose I can only say that we’ll continue to do our best going forward (lol). In future, for sure…… We’ve also been doing this thus far, but I think the band will continue to evolve into something new.

―― I suppose you’re right. Staying the same is tough, after all, and on the other hand, you’d become a falsity, wouldn’t you?

Y: Since we’re doing this with documentation, I think that’s alright. Compared to what we were like 30 years ago, back then…… For example, we play songs like HURRY UP MODE on occasion, don’t we?    It’s of course, but both the speed and the tempo are different too, aren’t they? But I think for us, because we’ve been playing that song all this time, it’s not the form, but the flow that has been developed. That’s why we can do it without feeling uncomfortable too. Like, (the song) is good as it is.

―― Even when it comes to your sound, be it new wave, or techno, or gothic, you have a flow that has always been there, so you can do anything and everything.

Y: Exactly. It’s fine as long as it brings out what makes the 5 of us, and as long as everyone thinks that it’s cool, it doesn’t matter what we do.

―― Maybe about 20 years later, you might perform cool enka music, and that’s also a possibility in itself, isn’t it?

Y: I don’t know about enka, though (lol). But if everyone thinks that way, that’s fine, isn’t it?    Because the direction that everyone faces towards (in unison) is definitely a cool one. And that has never been wrong, has it?

―― Though, of course, if you perform the songs the way you played when you were in your 20s after you’ve turned 50 or 60, that’s probably not cool, is it?

Y: I guess you could say that in our present document, we decided that we’d perform without straining ourselves, without aiming too high. Because to do that and have various people listen to us and say that we’re wonderful or we’re cool is the best.

―― Today’s Yuta-san is so cool (lol).

Y: But, you see, people think that the present us who isn’t aiming too high is cool, right?    That’s absolutely wonderful, isn’t it? That’s why we have to take care of our bodies to make sure that we can continue as long as possible, even if just by a little.

―― That is true. Considering that Sakurai-san and Hoshino-san have both fallen ill too.

Y: Put health as our top priority (lol). Because if we don’t properly care for our bodies, we’d end up losing the ability to do whatever we want, won’t we?

 

 

Return to Top

_______________________

Yagami Toll

We don’t feel that being in a band has become a tedious routine, so we don’t become interested in other things
We were made in such a way that such a thing would never happen in this band

Interview by Kanemitsu Hirofumi

―― You’re almost done with the rescheduled concerts, aren’t you?

Toll (T): We are. It was the Fukuoka one the day before yesterday so…… We’re left with Kyoto, I think. That was long. This isn’t exactly a tour, so the flow got interrupted and there were some areas which turned out to be a bit of a strain, but we were able to pull it off nicely. Everyone’s really looking forward to finishing off this tour properly and heading towards Makuhari Messe, you know?

―― How did you feel about the postponement of the 4 dates from last year-end’s tour and Sakurai-san’s condition?

T: Well, it’s got to do with his health, so. Since it happened, it can’t be helped, you know? Acchan fell ill before in the past too, so we know that he’s someone whose internal organs aren’t that resilient. But, really, thank goodness that it didn’t turn into anything big. It’s a good thing that it wasn’t a serious illness.

―― You’re, firstly, relieved.

T: Yeah. You could say, it’s a case of “good things tend to be followed by bad”. The state of the band is really great now, so we have to be careful. To add to that, we’re already a band whose members are all in their 50s. We can’t feel like we did when we were young forever. We’re a band that goes in for the attack at the very last minute. So we can’t afford (to take risks), you know? I think that showed a bit.

―― Indeed. But the songs that Imai-san composed, although I think those feelings could be sensed somewhere in them, they are also free-spirited, more youthful than any band, aren’t they?

T: Those parts, I think they’re amazing because Imai doesn’t run out of it. I’ve known him since we were in high school and it’s been such a long time, but I think he’s been becoming more and more exceptional as an artist with each year that passes. Musically, there’s no sign that he’s calming down at all, and it’s strange that he’s getting more and more playful but it can’t be helped (lol).

―― When a band has been around for 30 years, they’d usually settle down to a certain extent and (decide), “This is the kind of band we are”, though (that means) there are quite a lot of bands which no longer possess a sense of thrill, aren’t there?

T: But that doesn’t apply to this band. Don’t you think it’s quite something that we 5 are not tired of being in the band together? None of us has started investments, or started running shops, or going into producing for new bands. You don’t even hear of such things, and we’ve never even had the slightest desire to do any of that. It’s because we enjoy playing in a band…… That said, maybe I’m actually just unaware of those things (lol).

―― Hahahaha. Then again, Hoshino-san is the type who wouldn’t surprise us if it turned out that he had been renting out apartments this whole time (lol). I’ve never heard of such rumours before, though.

T: We don’t feel that being in a band has become a tedious routine, so we don’t become interested in other things. Because each time we find “Imai has yet again written some illogical song!”, it becomes a struggle here. When that happens, I get thrown back to how I felt in my teens, all the time (lol).

―― Hahahahaha. This might be too late now, but even though Yagami-san’s roots are in Carol* and Led Zeppelin and bands like them, I do think that you’ll be able to play songs like theirs in an interesting fashion.

T: Though there was a time when I would think, “Just tell me what you want me to do with this.” But, when I talk to other people of my age group, I often think that we were fickle with our taste in music during our era (lol). We listened to rock and folk and popular songs of the day too, be it Western or Japanese music. When I first formed a band and we couldn’t find people to join us, we would cover Yuming** while waiting.

―― You did your drumming research while listening to a variety of music too.

T: Yeah. Even if Imai brings me a weird song, he’d explain it to me by saying, “This is a song that’s something like this,” so I do get a sense of accomplishment from it, you know? In the past, there was a song with a completely incomprehensible rhythm which he gave the working title “Techno”. And when I asked, “What’s this?”, Imai explained to me what techno was from scratch.

―― Wahahahahaha.

T: I think it was Tight Rope. When I looked at the score recently for the first time in years, “Techno” was written on it too (lol). “Takahashi Yukihiro^ × Yamaki Hideo^^” was written there too. In other words, he meant that I was to drum cooly; without emotion. Also, “no groove” was also written there (lol).

―― Wahahahahaha, “no groove”!

T: Isn’t it the best (lol).

―― But to Yagami-san of those days, wouldn’t he have thought, “Telling me to drum with no groove, are you fucking with me!”?

T: Nope, not at all. Because instead, I wanted (those who heard it) to think, “These drums can’t have been played by Yagami Toll.” Because, you see, otherwise, it would mean that no matter what I do, you’ll be able to tell that it’s me, right?    I’m the kind of person who wants people to wonder, “Who the hell drummed this?”

―― Like, “Was this really played by Yagami Toll?”

T: Exactly. I want to be a chameleon-like drummer. Rather than say that I want to change depending on the song, it’s more like I want to play a variety of drumming styles. That’s why the rhythms that Imai brings to me are what I hope for and are what realise my hopes. With this single too, isn’t Kemonotachi no Yoru a show of that guy at his best?

―― It’s quite a crazy song, isn’t it? Normally, the composition of the song begins the guitar riff coming in at the start and then it all builds up, but in Kemonotachi no Yoru, if you listen closely, the very first riff just goes on and on endlessly. But despite that, it appears that it still gets properly composed as a song.

T: And that’s amazing, isn’t it? I don’t know if Imai himself did that deliberately or not, but ultimately it turned into serious pop music, didn’t it? (He) always gets me wondering, “What the hell are you?”

―― Indeed.

T: RONDO has a tango beat but don’t you think that it’s probably (the song that is) the closest to BUCK-TICK’s nuances thus far? On the other hand, with Kemonotachi no Yoru, I can’t help but feel that he really created something amazing there.

―― Well, I guess that’s because RONDO was to also be the ending theme song for Gegege no Kitaro. When we put that worldview into perspective, you get something that’s very close to what (the band) possesses too, but when we look at Kemonotachi no Yoru together with the composition of the riff, you could say it’s like you’ve gone on the offensive. It’s a song that tells us that such compositions still exist in your repertoire.

T: That’s why I said he doesn’t dry up, does he (lol). Besides, I think the contrast between the two songs in this single is great. They’re opposites, but both of them are very BUCK-TICK-like, and they’re pop, but if you listen closely, they’re sort of strange. That’s why you’ll never tire (of us).

 

Personally, I want to get our revenge on Tokyo Dome with the present quality of our band
It’s like saying, “That’s not all that BUCK-TICK’s got, motherfucker!”

―― In the past, were songs which left you thinking “What the hell is this?” after hearing it once?

T: I’ve probably mentioned it before but I think I did get that impression with songs like SEVENTH HEAVEN’s “MEMORIES…” and other similar ones. Probably even with Kemonotachi no Yoru, while (Imai) thought, “This is a nice riff,” he simply continued on just like that and it turned into a song. Like, there’s zero music theory (lol).

―― But that’s fine as it is.

T: It is. Because with rock music, it’s a win as long as it gets heard. You don’t need theory nor do you need to show off your tricks, right? People listen to it, and if the listeners like it, then that’s fine. Come to think of it…… It just came to me. We have a song called Kimi ga Shin.. dara, but after we were done with the recording and all, we kept wondering, “Is that song really alright chord-wise?”, and we had quite a debate about.

―― The whole band?

T: Yeah. Like, “Ain’t there something weird with this?” (lol). Though indeed there’s something to do with the song’s melody or the arrangement which made it weird.

―― I guess there’s some sort of distorted progression going on.

T: Back then, we kept wondering, “Is this okay?” (lol).

―― The only one who can find it in himself to say that it fits is Imai-san, isn’t it?

T: But isn’t that because he’s the one who composed it (lol). That’s why as long as it’s a good song, as long as it’s an interesting one, it doesn’t matter what it’s like, it’s fine. It’s got nothing to do with things like theory. It’s because we say such things that we’re being treated as non-conformists, though (lol).

―― So, about the lyrics that Sakurai-san wrote for Kemonotachi no Yoru, what do you think about them?

T: To me, I thought that (it was written with) a complete awareness of the performance that we were going to give at Makuhari. I suppose although Locus Solus no Kemonotachi is a title that Imai came up with for the event, Acchan visualised it and shaped the lyrics from that.

―― Indeed.

T: The lyrics are Acchan’s style, but his intention of “Let’s start here” can be seen, and that’s great, isn’t it?

―― Then, what kind of a live performance do you think Makuhari’s Locus Solus no Kemonotachi will be?

T: We’re going into a new era and kicking it off…… That’s what I think it’ll turn into (lol). Since it’s a live show, I guess there’s also the possibility that it’ll turn into a sort of milestone in BUCK-TICK’s career.

―― That’s what the other band members said too. That it’s not exactly any sort of particular milestone, but performing this Makuhari live feels like a new story has begun.

T: To me, I do think that it might turn into a live event that sits in a similar position as CLIMAX TOGETHER, though. Because although our schedule was packed with a variety of events last year, we spoke a lot with the stage production staff about the content for this event and we thought of doing something we’ve never done before. We feel that our fans will definitely enjoy it.

―― We have high expectations for it.

T: Then again, until now, BUCK-TICK has never used those rather classic productions or performance styles, have we? There’s also the fact that even if we do use special effects like pillars of fire or silver streamers, we’ve been able to employ those without making it look like we use it frequently and have held lives by playing simple performances. Having done that for close to 30 years, I think it’s pretty interesting doing it now.

―― But why didn’t you do that all this while?

T: Because, you see, when we brought it up back then, I think Imai said, “What the hell is that…… Rather, how tacky.” and it ended just like that (lol). I suppose even I thought the same.

―― I see (lol).

T: But as we aged, we’ve changed bit by bit, and when we start thinking about what we’ve never done before, or what we can do to surprise and bring joy to our fans, we’d come to think that tacky performance styles might be fun too. And the band is confident to a certain extent too, so you’d get the idea that no matter what we do, it wouldn’t be tacky or disappointing, right?

―― Does Yagami-san, too, have the desire to do as much as possible?

T: Of course. Because if you search for it, there will always be something that has yet to be done. Or rather, going forward, we would like to present yet another new side of BUCK-TICK.

―― So what do you think about RONDO?

T: That song is precisely what BUCK-TICK’s royal road is. Also, I think having Kokusyoku Sumire join in only added to the BUCK-TICK-ness of the song. The violin at the start is really amazing. That was improvised on the fly but I think the pressure of doing that doesn’t show up in the music at all.

―― That was improvised?!

T: Sacchan (Sachi of Kokusyoku Sumire) is really amazing. Whether it’s rock or pop, she’s really good at adapting (to the genre). I was surprised.

ーー I didn’t expect to enjoy Gegege no Kitaro this much.

T: Probably because you didn’t expect our BUCK-TICK-ness to be identical to it in that way. Also, it’s probably also a good thing that we came back to Victor for our 30th anniversary. Because it was thanks to Victor that this band was made known to the general public. It might be that we’re compatible (with this company).

―― If Makuhari’s Locus Solus no Kemonotachi is to be another starting point for you, what do you think BUCK-TICK should become from that point on?

T: Well, I do feel that it would be nice if we 5 could continue playing as a band even if just for a little longer, and I do want to perform live on only in Japan but around Asia too, and…… Can I be frank?

―― Go ahead.

T: As Yagami Toll of BUCK-TICK, having been in this band for over 30 years, there’s only one more thing left undone, one thing that I want to get back at.

―― And that is?

T: ………… Tokyo Dome.

―― Ooh!    You mean, you want to hold BUCK-TICK Genshou (BUCK-TICK Phenomenon) there once more.

T: Yes. That said, it’s not that I want a commemorative event or something like that. Rather, it’s just that I was disappointed with that performance. Although a ton of people came for the show, it’s the stage where we had our resurrection after a break in activities so, in other words, our sound was the worst. Due to the fact that it was when the Dome had just been built^^^ and the fact that we only had knowledge of putting on performances in live houses, we couldn’t even deliver the level of potential that we would normally perform at. The acoustics were just too horrible too.

―― This was something you’ve always talked about.

T: That’s why I want to get our revenge on Tokyo Dome with the present quality of our band. It’s like saying, “That’s not all that BUCK-TICK’s got, motherfucker!” (lol).

―― Hahahaha. I guess in other words, it’s something you want to clear from your bucket list. Or, that’s your dream or goal.

T: It’s what I want to get down properly before I drop (dead). I definitely want to perform at Tokyo Dome with proper production and acoustics. Otherwise, I won’t be able to rest in peace (lol).

 

 

Notes:

* Carol (キャロル) is a Japanese rock band which formed in 1972 and disbanded in 1975. You will find that Anii mentions this band often. He covered their song, Funky Monkey Baby, in his first solo project album 1977 by Yagami Toll & Blue Sky.

** Yuming is the nickname of Matsutoya Yumi, a Japanese singer, composer, lyricist and pianist who is renowned for her idiosyncratic voice and live performances, and is an important figure in Japanese popular music.

^ Takahashi Yukihiro was the drummer and lead vocalist of the Yellow Magic Orchestra, and former drummer of the Sadistic Mika Band. He is currently a member of the group METAFIVE.

^^ Yamaki Hideo is a jazz drummer and percussionist who is known for being the long time drummer for the band Toshinori Kondo & IMA.

^^^ Tokyo Dome was first opened in March of 1988 and BUCK-TICK played there on 29th December of 1989, i.e. the first Day in Question.

 

Return to Top

 

 

On Shiina Ringo & Sakurai Atsushi’s Kakeochi-mono (Eloper)

I thought I should struggle with all my might rather than sing it well.
Because I suppose what she might’ve been looking for was the passion which is derived from that

Interview by Kanemitsu Hirofumi

The formidable presence of these two rose to the top without any crossing each other before finally colliding together at the end. The song Kakeochi-mono, from Shiina Ringo’s album Sandokushi which features Sakurai Atsushi on vocals, has turned out to be an extra-dimensional duet song. And today, we ask Sakurai to share his thoughts about it.

 

―― How did you feel when you received the request to take part as a guest vocalist from Shiina Ringo-san?

Sakurai (S): Why me (lol). That’s my very first thought. Like, why? But when I heard that Ringo-san said, “I wrote this song in Sakurai-san’s image,” I felt very honoured, and that really got me motivated.

―― Indeed, Kakeochi-mono’s sound is quite out of Shiina-san’s context with its industrial yet gothic flavour, so it stands out even within the album. What was the first demo like?

S: In the beginning, I was given the demo that Ringo-san produced to listen to, but it contained her temporary lyrics, so I thought that this was a true rarity (lol).

―― A rarity (lol).

S: Like, it’s something that you never really get to hear.

―― So, it was after that when the lyrics were written?

S: Yeah. I wonder if she put a lot of care into it. Because it was a demo tape of very high quality. Ringo-san was also absolutely perfect with both our melody lines in both pitch and musical notation. It’s of course, but I could sense that she’s someone who possesses an immense talent.

―― How did you feel after singing the lyrics?

S: I was told that they were written in my image, but it’s a very passionate song, isn’t it…… Am I really such a passionate man? (Lol).

―― Hahahaha. But I think that you’re rather passionate when you’re on the stage we call the demon realm performing as BUCK-TICK’s Sakurai Atsushi.

S: I suppose so (lol). But I felt that (the lyrics) illustrated a passion between a man and a woman which is very uniquely Ringo-san’s style; of a story about a man and a woman sharing feelings so intense that there is no choice but to resort to eloping and committing a lovers’ suicide.

―― What do you think about the elopement theme?

S: It may not be realistic in this era of Reiwa but well, since I was also born in the Showa era (lol). To be forced into a corner, to feel as if there’s nothing else you can trust and it’s just the two of us against the world…… I feel like I understand that desperate, tragic romance and grief. But somehow, there’s also a sense of sadness in there. When Ringo-san sings it, it’s very energetic. Although it’s scary that you can’t see what’s ahead and there’s nothing else you can believe in, the passion that drives you to take your partner along with you overcomes all of that. And I think that’s amazing.

―― Were you able to immerse yourself into this story that has such a theme?

S: I guess, maybe I did? But I was very nervous. Since it’s a story that I absolutely have to go deeper and deeper into with the energetic Ringo-san too, I had to have the image running away while being pulled along by my hand.

―― Like you were getting swallowed up (by the narrative)?

S: Exactly. That’s why I attended the recording with the notion that I had to express a passion similar to Ringo-san’s rather than only sing (her lyrics). And to do that, an explosive power was required. Also, I wanted to express something that was above and beyond what Ringo-san sought. That’s why I thought I should struggle with all my might rather than sing it well. Because I suppose what she might’ve been looking for was the passion which is derived from that (struggle).

―― When I first heard about this collaboration between you two, I thought that it would be similar to her works with other musicians where there is a clear separation between each person’s part and they are still duets despite the intensity, but instead, you both were at it head-to-head from start to end. It was like (a clash) between a lion and a tiger, or a decisive battle between Goku and Vegeta……

S: I’m not familiar with Dragon Ball, but Ringo-san is a technically adept and talented person, so I suppose she would be capable of conveying the sense of a morose couple too, but to me, I felt that she likely sought passion and war.

―― But I get the sense that until now, Sakurai-san can’t really jump into things if (the person you’re working with is) not someone who knows you well, like Tsuchiya Masami-san or ISSAY-san  (Der Zibet). This time, even if feelings of respect were conveyed to you, I’d assume that this was an entirely unknown experience, though.

S: I guess that’s why I was nervous. Because even I found myself wondering why I was feeling so tense. She wasn’t a fellow dweller of the demon realm. Instead, it felt as if I was going up against a queen from somewhere. But it was an honour, and I really wanted to execute this at a standard that is above what she sought. This was a great experience for me.

―― Well then, if such an opportunity comes up again……

S: I’m of the mind that if I’m somehow good enough (for the work, then by all means).

―― Oh, you’re looking ahead, aren’t you!

S: But that is also something that I’ve only grown capable of after feeling the respect that Ringo-san has for me. She was very considerate. She came to the studio to say hi, and at first, I thought of singing an octave lower like one would with choruses, but she said, “Please try raising the octave.” So, I asked, “I think (doing that) will create quite a forceful impression. Is that okay with you?” And she said, “That’s my intention.” From then on, I went all out. Both physically and mentally. After singing 3 or 4 takes, I got the OK. Like a ‘thank you for the meal’ (lol).

―― Hahahaha. Well, I hope that there will be another opportunity for you (to do this) (lol).

S: Yes…… Also, lastly, Ringo-san, she’s a very beautiful person.

―― Hahahahahaha.

S: It’s something I’ve just got to say (lol).

 

 

 

Return to Top

 

 

 

 

Translation: Yoshiyuki
Scans: spanielonthemoon on Tumblr

 

Of Love and Death and Life

Ongaku to Hito
June 2019

Text: Ishii Eriko
Photographs: Hirano Takashi
Hair & Makeup: Tanizaki Takayuki, Yamaji Chihiro (Fats Berry)
Styling: Shimizu Kenichi

 

Songs befitting of the cusp of a new banquet. The new double A-side single, “Kemonotachi no Yoru (獣たちの夜 / Night of the Beasts)/RONDO”.

The latter is a bewitching Rondeau which can already be heard as the ending theme song of the anime Gegege no Kitaro and the former is a decadent, BUCK-TICK-style dance number which is exceedingly uptempo yet clad in noisy dissonance and a profound feeling that is in no way light.

The hectic schedule of their 30th anniversary ended with Sakurai Atsushi’s sudden hospitalisation followed by his resurrection at their year-end Budokan performance, but they never had any intention of dragging out this final lingering note. We can even hear their declaration to move forward, further towards the horizon, towards what comes next. What happened that year-end severely depressed Sakurai Atsushi but now, there is not a cloud in his expression.

 

 

After all, being born human, it is difficult to sever things away. But time still goes by so, recently, I decided that I would do whatever I wanted to do.

 

―― It’s probably a little late to say this, but I keenly felt that last year end’s Budokan (performance) was a night overflowing with love.

Sakurai (S): Ahh…… Is that so? Well, genuinely, it’s because the voices of our audience resounded so greatly. It sounds cliche since sports athletes and artists often say, “Your cheers empower us”. But I thought, ‘There really is such a thing after all’. I was happy, truly.

―― Yes. This is probably a painful memory, but may I ask about your medical condition at the time again? Did you gradually fall sick while on tour?

S: Nope. Well, when we were in Tokyo, it came suddenly. Although I did think that my stomach felt a little weird since the previous day. Our first day at Zepp Diver City concluded, I went home, and just as I got into bed thinking that I needed to rest, something felt off. So I went to the toilet…… Well, this is gross talk, but I kept passing pitch-black stools. And that went on until morning without me getting much sleep. Then, I headed out for the concert on the afternoon of the next day just like that.

―― That already was a situation where you can make the call to cancel immediately, wasn’t it?

S: Uhm…… Calling it a sense of vocation is probably an exaggeration, but I was thinking along the lines of, “If I force it, things will fall into place”. Well, I had a haemorrhage during rehearsals too, but I felt, “Let’s just give it a go”. After all, I’d feel regretful if I said “I can’t do it” before I even try. Well, I thought that I’d be letting out audience down too, so…… I felt that I should just do whatever I can.

―― And after that, you were admitted to hospital.

S: That’s right. I got hospitalised for medical tests. I was referred to the hospital, and then they asked, “Can we admit you to the hospital now?”. I had a few days free following that live anyway. I lost about a quarter of the blood in my body, so I was anaemic too. Because of that, I had to rest for a bit to recover my physical strength and red blood cells.

―― But when I heard the announced illness name, I wondered what the cause was and my imagination can’t help but run wild in about all sorts of ways things might’ve gone bad.

S: No, but, as per the announced name, I was told that it was gastrointestinal bleeding. They thought that the cause was the stomach and I was supposed to vomit blood but the blood was pitch black too so they said that it was probably the inside’s…… duodenum or something in the small intestine that was the cause. So they inserted cameras into all of it, my stomach, my intestines, and I swallowed capsule cameras for them to check. But. However, they couldn’t find the location of the cause. Apparently, such cases do happen on occasion. Since they couldn’t pinpoint the location, I got the feeling that they couldn’t say anything at first, but the doctor said, “I think it shouldn’t be a problem after February.”

―― It’s already April, so…… You’re okay, right?

S: Yes. I’m already guzzling down alcohol, so (lol).

―― Hahaha. Please take good care of yourself.

S: Yes. Of course. I’m okay.

―― You also said this right before the song ‘BOY septem peccata mortalia’ began during your Budokan performance, but thus far, you’ve never felt that pain of being robbed of (the opportunity to hold) concerts, have you?

S: That’s right. (People might) get angry when I say this, but…… When I was younger and I felt unwell, there were times when I would feel, ‘Damn~, why is there a performance today~’. I’d finish up rehearsals while nursing a hangover and then I would sober up just as the concert starts. Well, though once I stand on stage, the adrenaline kicks in, so I’d think, “Ah, this feels great” after all. But this was the feeling of having what I naturally do suddenly ripped away from me. To add to that, I caused a lot of worry and inconvenience to everyone. It was a little depressing.

―― What were the emotions that you felt?

S: Firstly…… The feeling of regret. I was frustrated. My body didn’t undergo surgery so I could still move anyway. Well, I was a little lightheaded, but it also felt as if there was nothing wrong with me. I suppose there actually was damage done, but I just kept thinking, ‘…… I wonder if I could (perform) if I forced it?’. I couldn’t decide.

―― Ah, because your mind was going around in circles too.

S: That’s right. I did do a bunch of work on the PC in the hospital ward, but when I read the emails that everyone sent to me…… Words that said things like, ‘You’ve overworked this year, so please get plenty of rest,’ came in. Seeing that made me feel regretful, like…… What the hell am I doing when there are people who think for me like this.

―― I understand how you felt. And because the atmosphere in a hospital is peculiar too.

S: Yeah. I guess it can be said that there’s no contact with society at large.

―― In other words, Sakurai-san is linked to society through your position as BUCK-TICK’s Sakurai Atsushi.

S: I suppose that’s right. Of course, I’m an ordinary citizen too, but (I am connected to society through that reputation) because it’s the most easily understandable and it’s what comes out when I’m interacting with others. But when I’m wearing pyjamas in the hospital, it’s somewhat heartbreaking too.

―― You can wear…… pyjamas.

S: I wear them (lol). Or, what do I wear?

―― No, well, I assumed there were only gowns.

S: Ahh. I wore the gown over my pyjamas. Dashingly.

―― Fuhahaha!    By the way, what did the other band members say?

S: Ah, via email, the two brothers said, “Well, get some rest”. Something along those lines.

―― What about Imai-san and Hide-san?

S: Nothing in particular.

―― Right (lol). Our conversation has taken quite a turn but whether it’s about being healthy or about being able to perform on stage, neither can go on forever. I believe that is what you got to feel firsthand this time.

S: Yeah. How long I can keep doing this…… I thought about things like that. Especially recently when there are those who choose to voluntarily retire. Although, of course, I, too, wish to keep going as long as my body and my voice permits. But, well, it’s not something that is within our control. If we can sever off what naturally happens, it would be easy but that is rarely the case. Because being born human, we have emotions, and memories, and blood relations after all. It’s difficult to sever things away. But despite that, time still goes by. Right…… Very recently, I decided that I would do whatever I wanted to do. And I wouldn’t do what I didn’t want to do.

―― You’re saying this in a positive light.

S: That’s right. Because, really, just recently, a friend who I’ve known for 30 years passed away. He went suddenly and it felt like, ‘…… Ah, that’s it?’. That person lived his life as he liked, so I guess that was one thing my friend taught me.

―― Was your friend sick?

S: Nope, he suddenly collapsed. Cerebral haemorrhage or something. Mm…… It was a little too abrupt. Even now, it still hasn’t sunk in though.

―― Even since your youth, Sakurai-san has always written lyrics which revolve around death, but are your feelings about it changing now?

S: …… I think I’m becoming more and more afraid of it. I believe I’ve mentioned it previously too, but my father passed away at the age of 53. And now, I’m 53, but I want to break away from that record by hook or by crook so I’m doing my best. I’ll definitely flounder around ingloriously until the end.

 

When I’m really depressed, I guess I’d contrarily be able to write up-tempo songs. In the opposite direction of myself.

 

―― It feels like you won’t sigh and say, “This is fate.”

S: If I could get that pessimistic, that’s fine too, though. I’m actually more unseemly, more noisy and wilful. Something like, ‘I don’t want to dieee!’. Fufufu.

―― Understood. Now, this is about the single, but I read in Yuta-san’s serial column that it’s been put in a sort of theme song position for May’s ‘Locus Solus no Kemonotachi (Locus Solus Bestia)’.

S: (Saying it) as if he knows.

―― Ahahahahaha!

S: Well, to me, the title (of the event) came from Imai-san and since we have a song coming up in the new year along with the single’s release in May, I thought that it would be great if it would be a song that we can announce for this concert. As for the subject, it’s not exactly a song that applauds the fans, but well, it has a sense of, “Thank you for the past 30 years” and something like, “We’ll keep going from here on too”.

―― When you say ‘applaud the fans’, was that what you wanted to properly put in song? As compared to only conveying your gratitude through the MC.

S: That’s right. Well, I just thought it would be good if we could express that nicely using my own words or the band’s words. It’s easy to say, “Thank you”, but rather than that, in a way, I wanted to energise ourselves too and give the feeling that “We’re going to continue as we have always been”.

―― This song was very much steeped in the words “We love you”. You don’t really write that, do you? The subject “We”.

S: That…… is right. But here, these are words that come from the band’s perspective. This is why we’ve made it this far; that’s what I wanted to say. The more I think about these two songs, I get the feeling that they thoroughly explore (these sentiments) yet are stripped down. Doing that makes the songs very easy to get into and when we finished these songs, even I thought, “Ah, it’s turned out well like this”.

―― Instead of “Sing of love and death”*, you’ve put three words together as, “Sing of love and death and life”*. Was this another result of thinking through all of that?

S: That’s right. I wondered, “What order should I put them in?” (lol). This was all me. I’ve always sung about love and death but I thought that it would be good if I stuck “life” in there.

―― If it’s the present version of you singing it, that one word is necessary too.

S: That’s right. Until previously, I’ve been creating that ambience of “love and death” after all.

―― Ambience, you say (lol).

S: But don’t you think it’s alright too? To include the feeling of being alive as well. Yeah…… That’s what I thought myself too.

―― Yeah. And after that, it follows with “Come on dance your life away”** too.

S: Yes. That part, too, will turn into something different if I get embarrassed, though. I kept thinking about it until the very last minute of vocal recording. I felt that if I’m going to go with this then I might as well do a direct delivery, with the sense that I can’t be shy about this, you know.

―― Somehow, Sakurai-san is more cheerful than I expected. It’s relieving.

S: Ah, is that so?    …… It shows on my face, doesn’t it (smiles). I was depressed because we had to skip concerts, but just recently, we’ve just performed two shows in Kyushu. Also, we completed the shoot for our music video too. So, now is a period of time when I’m at ease.

―― It’s the same with the lyrics and melody of this single, but it doesn’t look like heavy songs that weigh down are necessary as of now.

S: That’s right. When my mind is in good health, I’d get the urge to write songs like that. Those heavy, depressing songs. When I’m really depressed, I guess this opposite would happen, where I’d be able to write up-tempo songs like “Kemonotachi no Yoru”. Things would go in the opposite direction of myself.

―― I see. So, for example, a song like “Mudai” was possible because you were mentally well.

S: Ah, I was thinking of bringing up “Mudai” as an example too. So, during the recording back then, perhaps I really got into it or something, but I felt that my mental state was really great too. I could really see the world of that work, and I guess we were also in control of ourselves. Also, personally, I especially felt that “Mudai” was “The One!” among everything in Arui wa Anarchy. When that happened, everything went smoothly. Even though the lyrics are about such a topic, there were no labour pains. Instead, I enjoyed it, creating something like that.

―― So, it wasn’t a matter where the song was created from the purging of feelings so truly distressing that you wanted to die.

S: Not at all. Because it’s just an instance where I just thought it would be nice to recall the past. I guess you could say I’m a masochist?    As in, sadist versus masochist.

―― Fufufu. Previously, during your 2-day performance in summer at Odaiba, the last song of the main part of day 2 was “Mudai”, wasn’t it? I was appalled, like, what a song to close things off with in the middle of this summer festival mood.

S: Hahahaha.

―― And now, you’ll similarly be holding a 2-day live performance too, but I suppose you’re into songs like “Kemonotachi no Yoru” this time.

S: That’s right. Oddly enough, “Mudai” kept coming up. During these past two years or so. I like it so it’s fine for me, but for those who come and watch us…… I wonder if they’ve had enough of it.    Or has it become something closer to harassment for them? (Lol). I’ve had those thoughts too.

―― If so, then it’s time for the next theme song. Be it intentionally or instinctively, you’re undergoing a face-lift bit by bit. Your present mode and the way you enthrall always changes a little with each occasion.

S: Yes, I do think that it would be nice if this year would be a year of change (for us).

―― I see. By the way, what’s your plan for this year?

S: After the 2-day live…… A break (grin).

―― …… You look very happy about that.

S: Hahahahaha!    I’m guessing that’s how things will go if you write this first. But I’d like to rest a bit.

 

 

 

 

 

 

 

Translation: Yoshiyuki
Scans: Patowinds

 

 

Lingua Sounda Special
Locus Solus Bestia Official Live Report

Lingua Sounda
21 May 2019

photos by 田中聖太郎写真事務所 (Seitaro Tanaka)
text by Okubo Yuka

 

On 25th and 26th May, BUCK-TICK’s Locus Solus Bestia (ロクス・ソルスの獣たち / Rokusu Sorusu no Kemonotachi) was held at Makuhari Messe International Exhibition Halls 9, 10, and 11 in Chiba. This was the first time that they were holding a solo event at Makuhari Messe.

Thus far, they have held other large-scale solo performances unrelated to specific works, like “THE DAY IN QUESTION” and the 12-yearly memorial “CLIMAX TOGETHER” and more. Those events have left their marks in legend but it can be said that this particular one, which was held over 2 days and saw an approximate 24,000 attendees, is a brand new monumental achievement comparable to events past.

Although this event is reminiscent of the imagery of the strange book, Locus Solus, from the 1910s, it was difficult to imagine what the content would turn out to be based on the title alone. It was said to be a mystery in itself, but what the audience gazed upon this stage was a never-before-seen version of BUCK-TICK.

Stage extensions were set up in three directions; left, right, and centre. A center stage set up at the end of a stage extension. Hologram performances. Marching through the audience to enter the hall. An acoustic set. The first performances of new songs and a setlist filled with rare tracks.

Stepping into a new phase after their 30th debut anniversary, they looked shy during the MC on the first day when they said, “Today, after 30 years, we tried challenging ourselves with a variety of things”. The audience was greatly excited by their new attempts. The elaborately planned stage production, the gorgeous yet dynamic lighting, and performances that captivate onlookers drew everyone into an unparalleled world during these two days at Makuhari Messe and this report will cover it all.

 

 

 

 

 

 Day 1 – May 25th

Before the performance began, the hall was overflowing with anticipation for the yet-unseen stage. Eventually, the lights went out and the audience stood up in the dark, drawn into a dusky forest in the large circular screen set up in the centre of the stage. Before long, the scene transitions to a novel-like invention of a steampunk video and at that moment, the members stepped onto the stage. Toll Yagami’s (drums) count started what can be said to be the theme song of this event, “Kemonotachi no Yoru (獣たちの夜)”.

How do I describe the explosive power and exhilaration that was felt when the intro started? It was as if like my heart squeezed tight for a split second before the blood rushed through the vessels in my body all at once. I had been listening to the studio version before that but those expectations I had were far exceeded by the absolute power of this first performance which floored me. The imposing vocals of Atsushi Sakurai (vocals), who wore a costume which made it look as if he donned the skin of a black beast, has kicked off the commencement of this banquet of the beasts.

The first person to step out onto the centre stage extension was Hisashi Imai (guitar). He rocked the floor with his guitar solo which was largely noise in the studio version but had been rearranged for the live performance.

Following a cat-like, “myaaan” noise from Imai, they transitioned into the heavy dance beats of the cat song “GUSTAVE”. The audience cheered loudly every time the members went down the centre stage extension with Sakurai doing so during the intro and Imai, Hidehiko Hoshino (guitar), and Yutaka Higuchi (bass) during the interlude.

From here on, the audience, who have been receiving greetings from the beasts over those two songs, will now be dragged off into a dizzyingly nightmarish world.

“Oh~ Champs-Élysées. Oh~ Champs-Élysées.”

The echoes of this phrase uttered by Sakurai which sounded so devoid of joy led into “PHANTOM VOLTAIRE”. Following this song, the plucking of a phrase from Erik Satie’s Gnossiennes by Imai brought them into “Lullaby-Ⅲ”, where Higuchi swayed to the rumba rhythm that he played.

After these two decadent songs, they continued into “Shanikusai -Carnival- (謝肉祭 -カーニバル-)” with flames which swayed and rose on the screen in the background. The ephemeral melody and Sakurai’s falsetto made it a beautiful midtempo song, with the rousing strokes by Hoshino and Imai’s guitar noises coming in occasionally as if cutting through the air to stir up emotions.

That last performance where Sakurai covered his face with a Venetian mask left quite an impression.

Next, in “Kirameki no Naka de (キラメキの中で…)”, the story unfolded to the beat of Toll Yagami’s rhythm, where the intertwining of the suppressed emotions in Sakurai’s vocals with the melody of Swan Lake was indescribably dramatic. When the song ended, Sakurai flashed an icy smile in the dark.

And then, they proceeded into a song that they were about to play live for the first time in about 16 years; “Aikawarazu no “Are” no Katamari ga Nosabaru Hedo no Soko no Fukidamari (相変わらずの「アレ」のカタマリがのさばる反吐の底の吹き溜まり)”. Projected on the centre screen was Sakurai looking as if he was singing in a fish tank while displaying the twin-vocal interaction with Imai on stage. This inexplicable scene was beautifully surreal.

After that, as if countering the reverberations of that performance, they went right into the industrial rock track, “ICONOCLASM”. When the lyric “Japanese Babies” got changed into “Everybody” at the 2nd utterance, it roused cheers from the audience on the floor.

Following this was “Future Song -Mirai ga Tooru- (FUTURE SONG-未来が通る-) which resonated with Yagami’s tribal rhythm. Sakurai and Imai’s duet raises the voltage higher and higher, undulating from it to Higuchi’s bass riffs in the sublime intro of “BABEL”. Raising an arm as if through the heavens, kneeling as if crumbling and falling; their performance which embodied the song was a masterpiece.

After a quick “thank you very much”, the striking ring of bells and Imai’s effects-filled guitar noises rang out like ripples, leading in to “Moon Sayonara wo Oshiete (Moon さよならを教えて)”. The circular screen turned into a large moon, and they sang and played as if huddling up together. For a brief moment, it felt as if the air had been cleansed, but Hoshino’s sultry guitar intro once again brought back the dark atmosphere for “Misshitsu (密室)”.

Projected on the screen, Sakurai nailed the expressions of being tormented by a twisted love and right after this, a short break.

“Next, we’ll perform one more new song for the first time on this stage. Everyone, do look around for a few things.”

As if covering this MC, Imai played a tune from the theme song of GeGeGe no Kitaro and from the left, right, and centre of the floor, the violins of the intro of “RONDO” rang out. Just as it did, holograms of the band members appeared. When Sakurai said “do look around for a few things”, it was these holograms that he was referring to. While unintentionally distracted by it, this was also the day of RONDO’s first live performance. The melody and refrain of lyrics which are set to the tango-like rhythm created an illusory world in a rondeau of wandering round and around between dream and reality.

Just as it begins to feel as if we were being invited into dreamland, the tropical melody that Imai plays tosses us into yet another parallel world where the morning sun shines on the seashore. In “THE SEASIDE STORY”, the mermaid princess sings with a threatening tone a song of an unhesitating passionate love despite fate.

After that, the crowd cheered the moment the intro of the future pop track “BRAN-NEW LOVER”, which was being performed for the first time in a long while, began.

As he sang “Someday, we people will meet our farewell”, it felt as if this outlook of life and death was connected to their latest work, No.0.

After this came the last song for this main set. “Thank you very much. You have all been wonderful. Thank you,” said Sakurai, expressing his gratitude to the audience, after which reverberations of timpani led into the ending song, “DIABOLO”.

Imai strutted down the stage extension as he played his guitar solo while Sakurai sang with a top hat atop his head and a stick in his hand. It looked as if they were a circus troupe sallying forth towards the next city, leaving behind pomp and ephemerality and just a touch of melancholy.

The band left the stage, and the calls for an encore was a little more like a rippling. The reason for that was the acoustic set which had been prepared on the centre stage. The audience was beyond excited when the band headed towards that stage and that is because to get there, the members were walking through the audience, touching the hands which stretched out to them from both sides as they moved.

On stage, the band members sat around Sakurai as if surrounding him. This is a sight that has been seen with other bands, but for BUCK-TICK, setting up such an acoustic corner is a first for them. And above all, it’s rather rare that we get to see Yagami’s drumming posture from this position since he is always in his fixed position and never moved from it.

 

“Today, for a change, we’ll be giving this a shot,” said Sakurai, and following his words, they began their performance of the acoustic arrangement of the rock song, “Suzumebachi (スズメバチ)”.

“Imai-san has arranged a few songs for us. We’re facing our butts to everyone, but I’ll try my best to spin around as much as possible, so,” Sakurai said as he turned around on the small stage.

“BOY septem peccata mortalia”, which had a Spanish-sounding arrangement added to it, was a real thrill. While “Keijijou Ryuusei (形而上 流星)” started out with a beautiful arpeggio intro. The simple sound of its acoustic arrangement elevated the song and made it even more outstanding than before. I believe that this acoustic corner was akin to the band’s attempt at acquiring new weapons which will, in future, aid them in the expansion of the world of BUCK-TICK. When the band members left the centre stage, they walked down the opposite side from where they entered, towards stage right to leave the floor. This little gesture was yet another display of their considerate selves.

When the band returned to the stage once more, Imai wore a unicorn headgear on his head. The audience grew excited at the sight of the item which he previously wore during the 1996 CHAOS tour and 2009 memento mori tour.

The hall went dark and what started was “Ai no Uta (愛ノ歌)”. It has been 16 years since this song was last played in the 2003 album tour for “Mona Lisa OVERDRIVE”. Riding on the heavy, bone-resonating rhythm provided by the rhythm brothers, the figure who sang loudly of love in the deep red illumination was a truly dignified one.

The next song that they played was “Sakura (さくら)”.

It appears that this midtempo number, which was filled with Sakurai’s personal thoughts from back then, has refined over time. At least, that was how I felt as I watched the performance under the sakura confetti which danced and fluttered down from all around.

Following the band members’ introduction, Sakurai spoke of his feelings towards this performance. “After 30 years, we’ve challenged ourselves with a variety of things today. A big thank you to all the staff who worked overnight to put this stage together. And above all, a big thank you to everyone who came all the way down to Makuhari in this heat for us.”

Closing off this special performance was “HEAVEN”. When I saw the two sets of stairs on stage connecting to the stairs leading into the heavens on screen, it felt as if it could be interpreted that the “beasts of Locus Solus” were in fact inhabitants of the skies. That is because, like the line “we scream, we laugh, we love, we fall in love”, this “HEAVEN” resonates with a warmth that loves and cherishes the workings of these beings.

“See you again, our wonderful fans,” he bade as he applauded the audience. And with that, the band members departed from the stage.

 

Return to top

 

 

Day 2 – May 26th

Just like the first day, the second day opened with “Kemonotachi no Yoru (Night of the Beasts / 獣たちの夜)” and “GUSTAVE”, pumping up the audience all at once.

Loud cheers filled the hall as the band members strutted down the stage extensions. During “PHANTOM VOLTAIRE”,  Sakurai’s laughter at the end of the song brought tension into the air.

“Welcome, welcome. Come, let’s start the party. Ladies & Gentlemen, Welcome, Welcome, Welcome*”.

From the dramatic greeting began “Lullaby-Ⅲ”. Continuing, this day’s “Shanikusai -Carnival- (謝肉祭−カーニバル−)” saw Sakurai putting the same mask on the mic stand and kissing it, giving the song an ending with a lasting impression. Following a rendition of “Swan Lake” which was played with an organ-like sound from the guitar synthesiser was “Kirameki no Naka de (キラメキの中で…)” and the audience steadily fell deeper and deeper into a deviant world.

In “Aikawarazu no “Are” no Katamari ga Nosabaru Hedo no Soko no Fukidamari (相変わらずの「アレ」のカタマリがのさばる反吐の底の吹き溜まり)”, newly rearranged together with a jungle beat worked in, the contrast between the sight of Sakurai’s phantasmagorical singing on the screen and Imai putting up his middle finger as he sang on stage was amusing.

When Sakurai returned to the stage, they performed iron-plated live song “ICONOCLASM” followed by the noisy digital rock song “Thanatos (タナトス)”. After dominating the floor with the intensity of a masterpiece “BABEL”, Sakurai went to the top of the staircase to the right of the circular screen and Imai sat on the left side staircase before beginning to play “Moon Sayonara wo Oshiete (Moon さよならを教えて)”. This worldview was then handed over to “Tight Rope”. In recent years, they have often chosen to play the rearranged version from 2007, but this time, they decided to play the original 1996 version of the song, a first in many years as Sakurai slowly walked down the stage extension, pantomiming the crossing of a tightrope.

Next, with acoustics coming from both sides and the hologram performance, “RONDO” was enjoyed both aurally and visually in a three-dimensional experience. Just as “THE SEASIDE STORY” and “BRAN-NEW LOVER” ramped up the euphoria, Yagami’s rhythm signalling the finale of the show rang out loudly, welcoming a spectacular end to the revelry of dreams with “DIABOLO”.

The encore was the same as the first day’s where the band members made their way through the audience to get to the acoustic set that was set up on the centre stage. 

“To those in the back, thank you (for coming). This is the furthest we can go,” Sakurai said, showing his consideration towards the audience on this day as well. 

“We felt that (it would be nice) if you could feel yet another different side of BUCK-TICK. So please listen to these few songs that have been transformed by Imai-san’s re-arrangement,” said Sakurai, thus starting the segment and leading into the performance of the acoustic arrangements of the three songs “Suzumebachi (スズメバチ)”, “BOY septem peccata mortalia”, and “Keijijou Ryuusei (形而上 流星)”.

Aside from the freshness that was brought by their first attempt at an acoustic corner, the other noteworthy thing about it was the peculiar arrangements. Till now, BUCK-TICK has always presented an electronica-infused band sound and by giving those songs of theirs a simple acoustic sound made the qualities of their melodies even more distinct.

In addition to that, the sounding of noises in the background of the music that the five of them played was so uniquely BUCK-TICK. The uptempo beats, “Suzumebachi” and “BOY septem peccata mortalia” which livened up previous stages had a secretive, closed-room ambience added to them, making them even sexier, while “Keijijou Ryuusei”, composed of simple sounds, resonated ever clearer in my chest.

The resurrection of songs which have not been performed for over 10 years, like “Aikawarazu no~” and “Carnival”, for the main portion of the show was also deeply memorable. The selection of songs for the first half of these two days’ performances was dark, but it definitely didn’t leave a heavy impression and that may very well be thanks to the three songs that were performed in the second encore; “Ai no Uta (愛ノ歌)”, “Sakura (さくら)”, and “HEAVEN”.

The approach of these three songs are certainly different in their own respective ways, but all of them were love songs. Looking at it all again from this perspective, it can be said that just about all the songs that they performed this time around were songs about the different forms of love. Perhaps this event itself might just be a message from BUCK-TICK telling their fans “We love you”. 

“Everyone, I wish happiness, happiness, and more happiness.” (Sakurai)

While hoping for the happiness of the people, the curtains descended on the two love and euphoria-filled days.

So, what was this “Locus Solus Bestia” that sent the audience into such exhilaration over two days?

Just as how “Locus Solus” is defined as “secluded location”, I believe that this is a place that can only be reached by BUCK-TICK, a band which doesn’t belong in any particular place and has continued to reign the rock scene with an existence unlike any other.

After the final performance, the music of “THEME OF B-T” reverberated through the hall as a film digest of the first day’s performance was projected, followed by the announcement of “THE DAY IN QUESTION 2019”.

It begins on Tuesday, 3 December at the Grand Theatre of Gunma’s Takasaki Arts Theatre and brings a total of 5 performances which ends with a finale on Sunday, 29 December at Gymnasium 1 of Tokyo’s Yoyogi National Gymnasium. Also, during the MC in the encore, Sakurai said, “We’ve welcomed our 30th year and everyone has celebrated with us, then comes our 31st…… Well, it’s a long time, isn’t it? But we’re motivated to create something wonderful again next because everyone (the fans) enjoys it.”

As long as this is how they present the future, I don’t think we’ll be waking up from the dream that is BUCK-TICK any time soon.

 

Return to top

 

 

 

Notes:

* Italicised for emphasis that English was used.

 

 

Translation: Yoshiyuki
Source: https://www.jvcmusic.co.jp/linguasounda/special/03.html

 

Lingua Sounda Special
Kemonotachi no Yoru / RONDO

Lingua Sounda
May 2019

text by Kanemitsu Hirofumi

 

“When I heard that Imai-san named the live ‘Locus Solus no Kemonotachi (Bestia Locus Solus)’ and considering that our single will be released around the same time, I thought that [it would be fitting] if I were to sing to the fans with the feelings of ‘Thank you for these past 30 years’ and to ourselves with the resolution of ‘We’ll continue going forward’” – Atsushi Sakurai

Just like he said, the double A-side single “Kemonotachi no Yoru/RONDO” which contain these two contrasting songs has turned out to be one of gratitude and resolve, and a work symbolic of the present BUCK-TICK.

First, Kemonotachi no Yoru (Night of the Beasts), per its title, strongly draws attention to the Makuhari Messe live, Locus Solus no Kemonotachi (Bestia Locus Solus), which will be held on 25th and 26th May. One may even say that it’s the theme song.

“‘Locus Solus’ was taken from a book by someone called Raymond Roussel which I bought in the past, but there’s no particular meaning behind that, neither is the book all that interesting anyway. But it gives the feeling that it inspires a lot of imagination*. That’s why I thought that it might be a good idea to use it as the live name, and when I looked it up again, it turns out that it means ‘a secluded place’. It seems like one can draw a nonconformist definition from that too, so I thought it was interesting” – Hisashi Imai

This song truly is the perfect exemplar of the mavericks in Japan’s rock scene. It has an upbeat sound but if you listen closely, the same riff repeats endlessly; a rather demented composition. And with the lyrics “Tonight you stay on that stage till the end”, it’s as if [he’s] strengthening his resolve and spurring [himself] on. This may seem like the materialisation of Atsushi Sakurai’s chagrin at the postponement of 4 live shows last year end when he fell ill during the tour, at the same time, it can also be interpreted as his resolve as the frontman of BUCK-TICK.

“I’m really disappointed with myself for getting sick and messing up the tour. Like, ‘is that all your resolve is worth?’. ‘To collapse on stage, to push to the end is Atsushi Sakurai’. These lyrics are like an admonishment to myself” – Atsushi Sakurai

This is one song that that declares once again that even though it’s been 30 years since the band’s debut, they have strengthened their resolve as a band and as a mode of expression to continue running forward from here on out. Both this song and Bestia Locus Solus do not signify an end, but instead, they tell of new beginnings.

And with RONDO, in the beginning, it was thought that this song was written with the tie-up with the TV anime ‘Gegege no Kitaro’ as it’s ending song in mind, and by capturing the concept of Kitaro being the equivalent of the mildly extraordinary appearing in the ordinary, it has successfully brought these two worldviews together into one.

“In the beginning, because RONDO had a tie-up, we spoke about how this one felt like a title song and how it would work out like that, but Kemonotachi no Yoru felt fast-paced, and it was a BUCK-TICK-like song too, so then the conversation turned into ‘How about making it a double A-side single?’” – Hidehiko Hoshino

A rondo where the melody of the chorus repeats over and over to a tango rhythm. The word “夢 (yume/dream)” is repeated numerous times in a world view where nostalgia comes surging through.

“It overlaps with the world view of Acchan’s lyrics, doesn’t it? [He] possesses a world unique to [him], and I think that it matches with what [he’s] always stuck fast to. The theme appears to [revolve around] life and death; the permeance of humanity, and the love that it also encompasses. Isn’t it something that the anime shows as well?” – Yutaka Higuchi

The violin and accordion by Kokusyoku Sumire further accentuate the evanescence behind the bewitchery, bringing to life a vista akin to a dream that one is unable to wake from. It is the complete opposite of Kemonotachi no Yoru, but this, too, is something that this band has always depicted.

Behind the joy of living exists the fear of death that will eventually come, and to negate that trepidation, we search for light. That is something that has always been present in BUCK-TICK’s songs. Reality dwells in their songs by their singing of these two sides. And this is the same. In the end, this single has turned out to be something that strongly represents these two sides that the band possesses.

“I think that the two contrasting songs in this time’s single are really great. They contrast each other, but both of them are very BUCK-TICK-like, and they’re pop, but if you listen properly, something’s off. And that’s why you won’t tire of them. It’s like, this is how we’ve always been” – Toll Yagami

That was once again asserted, and together, they will walk into the oncoming future together. The single “Kemonotachi no Yoru/RONDO” and the live “Bestia Locus Solus” announce this beginning.

While at the same time, praying that this goes on forever.

 

 

 

 

 

Notes:

All song title and lyric translations come from This is NOT Greatest Site

* Strictly speaking, the phrase used here is イメージが溢れ出してくる感覚, i.e. the sense that [it] is overflowing with images (‘it’ being the words ‘locus solus’). I interpreted this part as the words giving Imai these ‘images’, so in other words, being inspired by the words.

 

 

Translation: Yoshiyuki
Source: https://www.jvcmusic.co.jp/linguasounda/special/04.html

 

RONDO by BUCK-TICK will be Gegege no Kitaro’s ending theme song
from Sunday, 7 April’s broadcast!

Toei Animation
9 March 2019

 

BUCK-TICK, who had their major debut in 1987 and has been active ever since at the forefront of Japan’s rock scene without any change in members, has written a new song, RONDO, to be used as Gegege no Kitaro’s upcoming ending theme song! Huddle up to the world of Kitaro and look forward to the song that opens up a new world of BUCK-TICK’s!

Song info

RONDO
Song: BUCK-TICK
Lyrics: Sakurai Atsushi / Music: Imai Hisashi
Arrangement: BUCK-TICK
(Victor Entertainment)

 

 

 

――Comments from the members of BUCK-TICK――

 

Sakurai Atsushi:
When I was young, I grew up watching Kitaro.
Kitaro taught young me about the weakness and the folly of humans,
sadness and pain, and life’s little joys.
I feel very happy to have the chance to sing this time’s ending theme song,
it feels as if I have become a friend of the yōkai.
Thank you, Kitaro.

Imai Hisashi:
Since I was a child, Gegege no Kitaro has always been a manga I know well.
I’m glad that I’ll now be a part of this dark, new world.

Hoshino Hidehiko:
Even now, I can still recall watching Gegege no Kitaro when I was young and feeling of being oddly attracted to it’s eerie atmosphere.
And that theme song that gets stuck in your head with just one listen. I loved it.
I’m very happy that our song has become the ending theme song.

Higuchi Yutaka:
I’m very happy and honoured that our song has been picked to be the ending theme song of Gegege no Kitaro that I used to watch when I was a child.
Thank you for supporting Gegege no Kitaro & BUCK-TICK.

Yagami Toll:
I’ve been watching it ever since it was first broadcast on TV, so I’m very happy that our own song will beused as it’s ending theme song.
It’s a song that has turned out nicely, so please do listen to it.

 

――Comments about the song from the members of BUCK-TICK――

Sakurai Atsushi: 
Is this a dream?
Where did people come from and where are they headed to?
Is the face under the mask smiling? Or is it crying?
A cute cat will lead you to the world of dreams.
Thanks to my cat daughter*, this has turned into a very romantic song.

Imai Hisashi: 
Let’s sing
Let’s dance
Here we go  The night has just begun

Hoshino Hidehiko: 
With a violin and an accordion added to our usual BUCK-TICK sound, we’ve made an even deeper, more profound song.

Higuchi Yutaka: 
I think it’s a song that delivers yet another new world of BUCK-TICK’s perspective.

Yagami Toll: 
I think we’ve made a song that gives a taste of BUCK-TICK’s gothic world view.

 

 

 

 

Notes:

*ねこ娘 (Neko Musume) typically means catgirl or a girl who looks or acts like a cat. But I suppose at this point we can conclude that’s not what he’s talking about 🙂

 

 

 

 

Translation: Yoshiyuki
Source: https://www.toei-anim.co.jp/kitaro/news/2019030801.php