Schwein Dissection

Ongaku to Hito
June 2001

Text: Hirofumi Kanemitsu
Images: MASA
Hair/makeup: Naoko Araki
Styling: Tomoharu Yagi
Clothes: CONNECTED, A LITTLE VILLAGE

 

 

To play it safe (lol), I’ll introduce them once more. Schwein is made up of BUCK-TICK’s Atsushi Sakurai and Hisashi Imai, along with PIG’s Raymond Watts, and KMFDM’s Sascha Konietzko. This is an entirely new project formed by the 4 of them. Looking at their respective band names, one would imagine a heavily industrial sound coming from them, but instead, one would be surprised by how the songs lined up in their album, Schweinstein can even be considered as melodious. Even without words, the pop-ish sound that has been enveloped by their desires to freely do whatever they please shows that the four of them understood what one another wanted to do. But herein lies a question. Why did Schwein come together now?    What difference does it have in comparison to BUCK-TICK?

In line with the name of this unit, this is an interview with Hisashi Imai in a freezer surrounded by pork (Schwein means ‘pig’ in German)!

 

 

 

ーー I think we should once again sort out the series of events that have led up to Schwein.

Imai (I): Right……… Let me see… In the beginning, it was Raymond who spoke of it…… Hm, yeah. I heard from him. Did he say something that sort of sparked it off……… I can’t recall the exact point in time…… Last year…… When was it?

ーー Well, although you’ve forgotten the period, what were your thoughts when you heard him say, “Let’s do this”?

I: The reason why we’re doing this is, of course, because I thought that it’s interesting. He’s done remixes for us, we’ve collaborated in Raymond’s songs, we’ve gone on tour together. And numerous times we’ve spoken about how we’d like to come together and form something, be it a band or a unit, but there were issues with timing and whatnot. It’s never turned into anything concrete. Eventually…… I think someone spoke out and it became reality though.

ーー Somehow, left as it is, it’s like the Japanese side of this was just waiting, in a ‘someone will probably say something’ way.

I: Indeed (smiles). But I guess I’ve always had the vague premonition? of ‘I suppose we’d probably do it’. Like, I wanna do this…… That’s why in the beginning, there was no…… nothing like a concept; none of that was given any thought. The original idea was simply…… [creating] something cool that can be done with us four. Something industrial or noisy or melodious, and so on. We didn’t even think about that direction. No clear form was decided upon but I suppose that eventually turned into Schwein.

ーー You mentioned “something cool that can be done with us four”, but how is that different from what the five of you do in BUCK-TICK?    I think that it’s the same in terms of the members all aiming to create something cool though.

I: Uhm…… I think it’s basically the same. However, with us four in Schwein, I guess I look forward to the fact that I have no idea what will come of this combination that we’ve never had before. What we’re capable of doing is already perfect, but how each of us will express that, I guess you can say that this area is particularly thrilling to me…… Simply put, it makes my heart pound.

ーー Like junior high schoolers dating for the first time (smiles).

I: On the other hand, BUCK-TICK is…… For example, it seems like it’s alright if I don’t go to the studio, even during recording. There’s not that much of a need to think “At this point, I have to do this, and this” as I play my guitar…… I can do it all, so it’s not tiring.

ーー This sounds like things between a couple who has been married for years (smiles).

I: Yeah. Applying that situation to Schwein, it feels like the fumbling you do when you form a band for the first time and go into the studio…… the nervousness (smiles), yeah. That’s right.

ーー What you seek, or that scale of joy; the measure is different, isn’t it?

I: That’s because things like a sense of accomplishment…… it doesn’t exist with Schwein. Because [the goal] can’t be seen. There’s a freshness, like ‘Ah, is this what Schwein is?’. When it comes to BUCK-TICK, I’d be making progress with the notion of ‘Ah, yes, that’s right, this is it, this is what it should feel like’. And when everything’s done, there would be a strong sense of accomplishment and joy, like ‘Right. Ahー It’s done’. But this time, it’s like ‘Oh, what?    Ah, it’s done?’……… I’m a real novice here.

ーー Novice (smiles). Well then, when we talk about Imai-san’s extracurricular activities away from BUCK-TICK, SCHAFT comes to mind, but have you thought about differentiating this from that?

I: No………… Not particularly……………… I think that there are a lot of areas like the way the songs are composed or the structure and so on but…… Uhm, I haven’t really composed a song while being focused on that.

ーー For example, if there were commonalities, where do you think they can be found?

I: That’s simply BUCK-TICK’s Imai joining Schwein and composing songs (smiles), that’s the commonality. It’s not like I flip a switch and change completely or something. It’s the same thing as saying that the same human being is doing this.

ーー …… Hmm.

I: It’s just simply that at the time, there were a lot of sounds that I wanted to try playing. That’s why there was such a variety of tunes that gone produced. From trance to hip-hop even.

ーー You’ve mentioned that this reaction birthed a sense of unity, but did you also think of creating something with a melody within that?

I: To think about that…… We didn’t particularly aim to create melodious music but…… That style, or in other words, music that can be described with the word ‘industrial’, in a nutshell, is of a theory that doesn’t actually have a melody, I guess.

ーー Well, there also parts where the portions without a melody come across as cool too.

I: In those parts, there are some………… areas which were frustrating too. Well, when it comes to people, whatever, you know (smiles). You could say that I do it because I think that having no melody is good because I get sick and tired of that (smiles). Of course, I do think that there are songs like that which sound very catchy too though. As I listen, even if it’s just noisy and jam-packed with hard-to-hear elements (smiles) I’d compose an additional something that doesn’t have a melody,  then I’d wonder whether I’m being complacent.

 

If I do it alone, I can’t really see anything new nor anything interesting

ーー That said for example, wouldn’t that make Sakurai-san’s involvement as the vocalist this time around a big part of things?

I: Ah, that’s right. I do think Acchan’s presence was rather significant.

ーー He was writing lyrics and providing vocals as Schwein’s Atsushi Sakurai this time around, but how does Imai-san feel about this from your perspective?

I: (Lol) Well, this part, you know (← points between eyebrows).

ーー Huh.

I: ……… It doesn’t really…… furrow (smiles).

ーー Hahahahaha.

I: I guess that’s the big difference. Hyahyahya (lol).

ーー BUCK-TICK’s Atsushi Sakurai frowns?

I: Comparatively so (smiles), it happens a lot.

ーー That’s the opposite of what Imai-san said earlier. He probably thinks so hard that he frowns (smiles) because when it comes to BUCK-TICK, he holds a strong world view of his own. On the other hand, Schwein is a completely unknown creature where whatever he sings will be produced, so that probably gives him a lot of freedom.

I: …… Mm. There’s that as well…… Though there are weird parts in it that tire you out too.

ーー Parts that tire you out?    In Schwein?

I: Yeah. Evenly spread on the whole.

ーー (Smiles) Evenly spread?

I: Yeah. As I said earlier, it’s because I don’t really know what finishing dictates that such a song is ‘finished’. So, let’s say with the guitar, if I have an idea, I’d just keep going………… That’s why I’m always thinking. I don’t brood over it but I’d end up thinking about how the sound should be, and if I get input from the others, I’d be like, “Ahー If that’s how he’s approaching it, then……”. I’ve no time to rest (smiles).

ーー Let’s say, comparing a situation where such a tension* exists with a situation where there’s space for you to feel some sort of peace of mind, which do you find more attractive?

I: More of………… Weーll, it all depends though. Say, if I have a place where I can, to a certain extent, feel comfortable in, and another where I can, for example, produce music within that tension*, I think I’ll end up finding a balance between the two…… But that’s not a motive, you know. I do feel that “I do it because I want to”, so…… It really is just that simple an emotion.

ーー So what kind of person is Raymond Watts, the partner to your doing things because you want to?

I: ………… Hmm…… Raymond has that kind of aura so I guess he’s that kind of human being…… 

ーー …… I don’t quite understand (smiles).

I: No, well, I don’t really have that…… I’ve only got an impression of him but………… He meddles from the side (smiles).

ーー …… Meddles from the side?

I: Ah, he’s an electronics kind of human being. Same as Sascha.

ーー Elec…tronics? (smiles)

I: Because he loves machinery (smiles).

ーー Well…… Like, if you’re playing a game you like but you’ve got no one to play with, you wouldn’t mind playing against the computer either, right?

I: Yeah, yes.

ーー I do think that it feels like this is a gathering of such people.

I: That’s true…… Mm. We exist in the same cluster, so the desire of “I want to do something like this more” comes out.

ーー Yes.

I: Because all 4 of us are capable of doing it on our own. But if that’s what we did, then the appeal fades away. So, this is indeed the case with games too, right? If I play alone, I’d wonder, “Where’s the fun?”. When we stand on the same stage, we become a cluster; the desire emerges and it becomes power. For example, with music, it’s not impossible to do it alone, but if you do, you can naturally do anything you want and you’ll [eventually] reach the flattest part of that. [When that happens] you won’t be able to come up with aーnything greater than yourself, right? …… I guess it’s like, it’s too ‘you’…… Well, I wouldn’t hate that but neither would I feel excitement too. That’s that I seek in music after all. If I were to, for example, go solo…… Well, I wouldn’t do it because it’s troublesome (smiles) but I suppose I won’t do everything alone. I’d probably go to a number of different people and tell them, “So, do whatever you want with this for me”. I feel more attracted to that. More than doing eーverything on my own.

ーー What’s the reason for that?

I: Hm…… I’m not conscious of it at all though. However, I just want to do new things after all. If I do it alone, I can’t really see anything new nor anything interesting. …… So this time, I don’t know what we’d end up with, I can’t see it. I guess you can say that this is a strength. This work is one where I can’t get a clear view of what kind of music we can make nor what kind of album it’ll turn out to be.

ーー I suppose that’s why you wanted to see properly. You didn’t know what will come out of this process.

I: Yeah.

ーー I guess you wanted to put yourself in that place for a bit.

I: Yeah.

ーー And that’s why [you’re doing this] not because it’ll give you feedback for BUCK-TICK or that it’ll bring your career to the next level, but because it fired up the excited heart of your inner child, right?

I: It’s that simple. You see, I often get asked about it. But I don’t really think much about those kinds of things, and [it’s not like] I’m adopting a spectator’s perspective to once again consider how BUCK-TICK is now good at this particular area and so on…… Riight?    Like, do I have to go in such a roundabout way to understand that? (Smiles).

ーー Wahahahahahaha.

I: Like, we’re not that insignificant. You see, it’s simple, to me (smiles). Because I’m the type of person who would naturally let myself be (smiles).

 

 

 

Notes:

* The ‘tension’ in these refers to the ‘nervousness’ that was mentioned earlier on.

 

 

 

Translation: Yoshiyuki
Scans: spanielonthemoon on Tumblr

 

 

Explosive Conversations Paradise

Newsmaker #56
June 1993

Structure/Text: Michishita Yoshiyuki (道下善之)
Photographer: Horoshi Maruyama

 

 

Monthly Explosion Dialogue Paradise Under the Rock’n Roll Sky. Artist lively Talks go on “Like it” or “Not,” Let’s start up with extra-super line-ups for this month! 

 

“Speaking of subways, I love seeing my face reflected in the glass.” (Lovin)
“Narcissistic bastard! …… But I get what you mean.” (Issay)

 

Teasing each other even as they agree, this month’s “Explosive Conversations Paradise” has become a mentor-mentee showdown (?). The very thing which led to this was the announcement that ISSAY was going to be a guest on the radio show MIDNIGHT ROCK CITY (airing on Friday, 16 April at 27:00-29:00 on FM NACK5!) which is hosted by LOVIN!

 

 

 

LOVIN (L): DER ZIBET had a bugler in the past, right?

ISSAY (I): Yeah, there was one, yes.

L: Inspired by David Bowie looks too…… I don’t suppose there were any other bands like yours which had a bugler back then, were there?

I: That’s right.

L: That’s what makes it so hard for me to wrap my head around it. Because it also feels like the song lyrics were made up of nothing else but “Baby I want you”.

I: Are you sure it’s allowed?  Saying such things (lol).

L: (Lol) No, it’s not like that. …… But, you know, I guess you could say that as someone from the Heavy Metal Kids¹ era, I was surprised to see that.

I: Humm, I see. …… On the other hand, the first time I saw The Yellow Monkey was, that song you did on TV, was it Uta no Tenkiyohou (歌の天気予報)? (Lol) I knew that you debuted from TRIAD² so I watched  until the very end, but I think my very first impression was, “They’re not as glam [rock] as everyone says they are.”

L: Mm-hmm. …… But when we actually met, I was relieved because you were like the nice, friendly older brother who’s easy to talk to (lol).

I: Kukkukku, a friendly older brother, huh (lol). I’m a self-conscious person, so I thought, “Ah, he’s probably a guy with a big personality.” About you.

L: Ahh, I guess I can sort of see that in you.

I: By the way, have you heard my new music?

L: I did, I did. The first track in particular made me laugh. …… Because, look, just when I thought that your sound would change with your changing of record companies, a distorted voice sudden goes,  “Waa~” (lol). I was just so impressed with how stubborn you are.

I: Ah, well, you know, the older you get, the more hard headed you become, yeah.

L: Uhya~, should you be saying that about yourself? (Lol) …… What do you think about my (album)?

I: Yes, well…… I think it was the first track of your first album?   The moment I heard it, I thought, “This person sure is brimming with the spirit of parodying” (lol). …… And that carries over into your second album in some areas too, but if that comical style is being performed by someone who overthinks it, it’d just turn into something unseemly, right?   So it got me thinking that you’re someone who gets into it well.

L: Actually, I think we’re very close to the concept of pop. As in, The Yellow Monkey and Der Zibet. …… Or, maybe not.

I: No, I think you’re right. …… There’s definitely some concept of pop that can’t quite be appreciated by the general public (lol).

L: So, you know, I’m even thinking that this image of pop that we have that is just a tiny bit mismatched with this era we’re in might just be something that people can’t appreciate until maybe, 20 years later.

I: 20 years!?   …… No way, I’d hate that (lol).

L: But then again, it’s not as if we’re deliberately making music that ignores these times, are we?   I guess you could say that’s just something that I’m never quite satisfied with no matter what……

I: But, you know, doesn’t that just make it music that makes people smile?   After all, it’s meaningless to make music that’s neither poison or medicine. …… Right?

L: Aren’t there certain songs that are making waves on the charts recently?   The ones that imitate rock music. Don’t they make you wonder whether or not that sort of music can really be considered as rock?   Since, I guess you’d be considered as a fan of rock music as long as you’re playing in a rock band.

I: You don’t say (lol).

L: They do the whole outfit too, like, aren’t there those who dress up like Marc Bolan³ and straight up imitate him?   It’s as if they get a pass just because it’s something Marc Bolan wears…… Then again, I’m the one who’s doing the imitation anyway (lol).

I: What are you doing, digging your own grave (lol).   …… But, look, you’ve got your own genre of rock music that you’re familiar with, right?   So, I think it’s good enough for you to believe in that and just do it, for sure. Besides, I’ve recently been answering my interviews with, “Der Zibet is turning our backs on the world head on!”

L: Very nice, that expression.   I like that (lol).

L: How many years has it been since you left Shizuoka for Tokyo?

I: Hm~……   I guess it’s been about a decade.

L: So, you know, I’ve always felt that the culture shock which Issay-san experienced when you moved to Tokyo really influenced Der Zibet’s lyrics. …… Like, the kind of feeling that you liked your younger self yet hated it?   And that’s probably the reason why you sing songs about “adolescence”.

I: Right.   …… I also think that they’ve got a “Shizuoka flavour” (lol). Like something that comes from having grown up looking at the sea. …… But, see, don’t you think that Shizuoka locals are big-hearted although we tell harsh or cruel jokes?

L: That makes sense. …… When I was a kid, I did live in Shizuoka for a few years, and I’d often find frog carcasses on places like the paths by the rice fields……

I: Were there? Things like that (lol)?

L: It’s not that they were there because it’s Shizuoka, but they were certainly there (lol). …… I think the lyrics I write come from digesting the vivid memories of “frog carcasses” and “fish floating on the sea” which I saw in my youth.

I: …… You sure are weird, aren’t you (lol).

L: Am I?   …… But, you know, after I moved to Tokyo from Shizuoka, my personality didn’t change but my music tastes changed quite a lot.

I: Rea~lly. …… So, you’re saying that when you were in Shizuoka, you listened to American rock because you lived in a seaside town?

L: Yeah, yeah, exactly.

I: I was listening to Gary Numan⁴ when I lived in Shizuoka, though.

L: Ah, that’s nice, very Issay-san (lol).

I: But I was delighted when first I came to Tokyo.   There are all sorts of live houses, aren’t there?   It felt like I could gorge myself anywhere.

L: That’s true.

I: And another thing I was really impressed by, the subway!   That’s one thing I still love to this day.

L: It’s really cool, isn’t it, the subway (lol). I like it too.

I: That sense of isolation is absolutely irresistible, and don’t you just love that feeling you get when you’re going underground?

L: Yeah, exactly. …… Also, for me, I love it when I see my face reflected in the glass.

I: There it is, that narcissistic bastard!   …… But I think I can understand that (lol).

L: Again, it’s about existing underground and never going outside (lol).

I: It certainly is underground, the subway (lol).

L: What about JR?

I: I hate it. …… Whenever I take that, it feels as if I’m going on some sort of journey or something.

L: Kukkukku, a journey, huh (lol).   …… But you also prefer bars that are situated underground, and you simply love that hole too.

I: Stop saying it like that (lol). …… But, speaking of holes, I have memories of digging holes in the garden and going inside them as a child. …… I’ve also got memories of going into wardrobes…

L: I did that too. It’d be a~ll dark, and I’d often listen to the radio or something. …… And the [radio] show was All Night Nippon or something, though (lol).

I: Gyahahahaha. Yes, yes (lol).

L: Ah, right, so. I think it’s related to that, but I’m a mama’s boy⁵. …… What about Issay-san?

I: I’m also a mama’s boy.

L: Right. …… I like that sort of headspace you’d get with a mother complex. I’m sure you think of your mom, right?

I: I suppose so.

L: I wonder if there are many musicians who have this complex. …… Say, for example, both John Lennon and Lenny Kravitz wrote songs about “mothers”, right?   I think that’s a clear sign of being a mama’s boy.

I: If that’s the case, then doesn’t it mean that the preference for small, dark spaces that we were talking about, along with this mother complex are simply signs of us being brilliantly influenced by our music?   So, this is the correct way to be a musician.

L: You can say that again (lol).

I: …… Do you go out a lot?

L: Nu-uh, not really.

I: I see. Well, me neither, actually.

L: But didn’t you say, “I recently went to the beach,” when we were at the Marc Bolan memorial show?

I: Yeah. That was a rare occasion. …… It was the first time in roughly 15, no, 20 years that I went to the beach to swim.

L: I can’t imagine you doing that at all, being under the blazing sun.

I: I guess. …… It’s probably unexpected but I actually like summer and all that, you know. Because, you see, the contrast between the two sides [of that season] is obvious, isn’t it?   Like, the plants are all vibrant and brimming with life, but they’d soon wither away. That sort of thing. …… But, I guess if we look at it that way, [summer] might be considered as a frigid season in that sense.

L: Because it has that sense of loneliness that comes when something comes to an end all too soon, right?

I: On the other hand, there’s also this one-of-a-kind air of frustration, isn’t there? Especially in the evenings…… Like, high schoolers and the sort would loiter around for no reason.   I think it’s definitely something that gets your blood pumping, for sure (lol).

L: For students, summer holidays are long, right?   Going out with the girl you like during that period…… That was nice too. And because of that frustration, it’d get me thinking, “Should I do it?” ⁶, you know?   Furthermore, in Shizuoka dialect (lol).

 I: Kukkukku, what a horrible guy (lol).

L: …………

I: …………

L: …… Hey. Were you good at sports?

I: Nope, I guess I was average.

L: You know, for the hundred metre sprint, I did 20 seconds.

I: Isn’t that super slow? (Lol) I don’t remember [my exact timing], but I wasn’t that slow. …… But, you know, I’m just gonna say it, but actually, I, used to do Kendo.

L: Gyahahahaha!   That’s not like you at all (lol). …… By the way, Issay-san, you know what?

I: What?

L: Actually, I, used to do Judo……

I: Gyahahahaha!   Who are you to judge (lol).

L: Furthermore, for 8 years.

I: Kukkukku, my goodness (lol). But I guess it’s better if we don’t fight. Let’s play nice and get along going forward (lol).

L: (Lol) But don’t you think that the shared element of “understated yet agressive” of two disciplines also comes through in both of our music too?

I: Ah, yes, I do think so.

L: Right, right?! …… Al~righty, so we’ll do our next photoshoot in our Kendo and Judo uniforms!

I: With makeup properly done (lol).

 

 

 

LOVIN
(The Yellow Monkey)

Yoshii “LOVIN” Kazuya   Born 8 October 1966 in Tokyo. Blood type, A. The Yellow Monkey’s vocalist. They will be performing at Nippon Seinenkan for the first time on 19 June. Their second album Experience Movie is currently on sale!

■ LOVES: ① Home / ② Parents’ home / ③ Shinjuku-Dori / ④ La.mama /⑤ Columbia head office⁷ /⑥ BOWINMAN (agency office) / ⑦ Hokkaido / ⑧ Shizuoka / ⑨ 上条五丁目 (Kita-ku, Tokyo)⁸ / ⑩ Ferry

■ HATES: ① Koiwa Station⁹ / ② Azabu¹⁰ / ③ Shizuoka / ④ Roppongi / ⑤ Rokumeikan /⑥ Juliana’s¹¹ / ⑦ Asagaya Station¹² /⑧ Shibuya Center Gai¹³ /⑨ Soap / ⑩ Kitchen

 

ISSAY
(Der Zibet)

ISSAY   Born 6 July 1962 in Shizuoka Prefecture. Blood type, AB. Der Zibet’s vocalist. Trash Land, their first album since their switching of labels to BMG Victor was just released last month.

■ LOVES: ① Songs / ② Mime / ③ Life with death right by its side / ④ Summer / ⑤ Good lies / ⑥ Sea /⑦ Boys / ⑧ Girls / ⑨ In bed / ⑩ Solitude

■ HATES: ① Women / ② Men / ③ Boredom / ④ Collusion / ⑤ Time / ⑥ This body that can’t live without food / ⑦ Illness / ⑧ Boarding planes (scary) / ⑨ Bad lies / ⑩ Me, when I’m irritated

 

 

 

 

 

Notes:

⁰ That’s the line of broken English that was printed on the magazine page.

¹ The Heavy Metal Kids are a British glam rock band who formed in 1973 from the merger of Heaven and Biggles.

² TRIAD is a rock label established within Nippon Columbia in May 1981, with the aim of creating a free and individualistic production group by actively recruiting talented production staff from outside the record company.

³ Marc Bolan was an English singer-songwriter, musician, record producer, and poet. He was the lead singer of the band T. Rex and was one of the pioneers of the glam rock movement of the 1970s.

⁴ Gary Anthony James Webb, better known as Gary Numan, is an English musician, singer, songwriter, composer, and record producer. He entered the music industry as the frontman of the new wave band Tubeway Army.

⁵ Literally, ‘mother complex’.

⁶ Sexual context 😉

⁷ I think he means Nippon Columbia, the record label, not Columbia Sports, the fashion label. 

⁸ Probably where he was born and where he grew up until he moved to Shizuoka.

⁹ Koiwa Station is a railway station on the Sōbu Main Line in Edogawa, Tokyo, Japan, operated by the East Japan Railway Company.

¹⁰ Azabu is a cosmopolitan area that encompasses 9 residential districts, including Roppongi, with its art museums and flashy dance clubs.

¹¹ Juliana’s, also known as Juliana’s Tokyo, was a Japanese discothèque that operated in Shibaura, Minato, Tokyo from May 15, 1991 till August 31, 1994. It was famous for its dance platforms, on which office ladies dressed in “bodycon” clubwear would congregate, as amateur go-go dancers.

¹² Asagaya Station is a railway station on the Chūō Main Line in Suginami, Tokyo, Japan, operated by East Japan Railway Company.

¹³ Center Gai is a narrow street in Udagawachō, Shibuya, Tokyo, Japan. It is a popular area for youths as it has a variety of popular brand name stores, fast food outlets and nightclubs. Its name is meant to signify how it is the “center” of Shibuya. It can be reached from Shibuya Station.

 

 

Translation: Yoshiyuki
Scans: morgianasama on LJ

 

 

 

Well, here it is.

It’s nothing fancy but this the official announcement and reveal of this website which I’ve been building since January with the help of Andy (a.k.a. ghostcitycowboy). 

This is a little bit of a pet project, kindly hosted by Nurse (nursemchurt) as I’ve been looking for somewhere to move my work to ever since the infamous Tumblr purge. After having something like that happen, who knows when the whole platform would suddenly fold on itself and take everything away. Scary. Not fun.

That was enough to justify the need for this website, but adding to this was also the way image hosting websites like ImageShack and Photobucket put everyone’s uploads behind paywalls without any warning or explicit permission from the image uploaders themselves. Plus the fact that scans directly uploaded to LiveJournal are now merely broken links… I don’t suppose it’s too much of a stretch to say that the loss of such content pains us all greatly as fans of these artists and bands.

On the topic of translations, there are some which are hosted on websites so old that they don’t necessarily load 100% of the time anymore. There are also others which may or may not have been taken down for one reason or another. But in any case, the ultimate goal of this website was to counter all these losses with a ‘backup’ of sorts. For translations, we’ll of course be seeking the permissions of the original authors before doing anything with them.

We’re obviously still a far way away from these aims since I’m still working on migrating all my content bit by bit, but it’s a long-term goal and I really want to see this to fruition. Realistically speaking, we need far more than 2 people to do this but… we’re working on it. If you’re interested in helping out or adding your content to the website, do reach out to us and we’ll see how to go about things. Rest assured that you’ll be credited for your efforts accordingly on the About Us page. 

Where we’re at, the website itself is still a work-in-progress, so if you noticed that something isn’t working quite right, please let us know and we’ll try to troubleshoot it. Suggestions and feedback are also welcome, but whether or not they can be implemented will have to depend on how feasible they are now, and in the long run. For these, there’s the Contact page available for use. Otherwise, hit us up on the Fish Tank Discord or on Twitter.

I suppose that covers the gist of things; why we’re doing this and what this is for. I don’t really have anything else to add so I’ll just end this post here and get back to work. I intend to keep this area for major updates or announcements, which I don’t expect to happen too often so… don’t watch this space? ?

 

Signing off
Yoshi

 

No one could stop them after all

Ongaku to Hito
December 1994

Interview by: Ichikawa Tetsushi
Photography by: Adachi Akiko

 

In Russian

 

 

I watched the second day of SCHAFT’s live shows at Shibuya Public Hall on September 27th. The 4-member band, with PIG’s Raymond Watts on vocals and THE MAD CAPSULE MARKETS’ MOTOKATSU on drums, is a different SCHAFT from the one from the “corollary” album ‘SWITCHBLADE’. In terms of the nature of their sound, it was, of course, electronic music that made full use of the technology they had at hand, but the sheer incoherence of this “noise emitting beast” from the four of them makes me think that this is precisely what rock is. Their level of perfection here is far higher than that of B-T’s or SOFT BALLET’s, but this bohemianism was filled with the joy of these musicians who have been freed from the fate of major bands of having to be run as businesses. 

Honestly speaking, this is probably a complete hell for the visitors who gathered with the intention to see “B-T’s Imai” or “SOFT BALLET’s Fujii”. The sight of some of the audience being bewildered and dumbfounded was amusing, but the shameless showing of SCHAFT’s “masturbation”, their unadulterated impulses, is promising after all. As artists, when it’s time to have fun, they’ll have to go all out and have fun. Furthermore, the remarkable coolness of MOTOKATSU’s ultrasharp drumming, Raymond being pushed into the audience (←appearing to look like a dive), and Imai’s happy face during the October 1st live at Osaka W’OHOL, simply adds to it. Even during this interview, which was held on the day following their Shibuya live, they seemed to overflow with joy.

 

 

Fujii「Rather than performing a live, it’s more like we’re creating a new remix」

 

ーー I got to watch SCHAFT’s live at Shibuya Public Hall yesterday…

Fujii (F): I think our sound was about 80% complete by yesterday.

ーー I think that SCHAFT evidently exists as two different bands between your CD and live versions, but I do wonder what kind of concept live SCHAFT has.

F: That’s just how it turned out when we got down to it.

ーー (Wry smile) You’re saying there was no plan.

F: We planned (lol). We did discuss about the order we’d play the songs.

ーー Well, that’s of course, isn’t it.

Imai (I): Hya hya hya hya hya.

F: When we were touring as LSB…… We spoke about things on the road…… But that said, I have the feeling that it only happened once.

ーー What about Fujii-kun’s hopes with regards to a live?

F: Ahh, well, I do have some for the stage and the lighting though.

ーー And aside from that?

F: Aside from that, I’ll just manage it somehow as we’re performing anyway so (lol).

ーー …… Aren’t you basically betting on big changes?    Since you’ve got MOTOKATSU drumming for you during your live, and there’s the presence of the audience as well.

I: It’s good that it’s much more intense than the CD, and, well, I guess it just turned out that way.

F: The arrangement is quite…… different from the CD’s, isn’t it.

ーー Of course, of course. That’s only natural since the arrangement is made based on an assumed live performance, right?

F: No, instead of the assumption of a live, it’s more like creating a cool, new remix.

ーー So it’s the same approach and concept as that of making a remix album.

F: Yeah.

ーー After careful considerations I could guess that this turned into an explosive live only after the deskwork, or the recording, but you guys didn’t really think anything, huh.

F: Yeah. But the fact that Raymond does that kind of staging, we didn’t think of that either, did we? Imai-kun and I, both of us, we watched PIG’s live in London, and as far as that was concerned, it gave me the impression that “This person is rather ‘Gou Hiromi*’.”.

ーー What do you mean by Gou Hiromi?

F: Well I’ve never seen Gou Hiromi so I don’t know.

I: Hahahahaha.

ーー Then don’t make that comparison.

F: No, but somehow, I just got that impression (lol).

I: At that time he felt like some dandy……

F: But he was shaking hands with the audience. While he was singing.

ーー I can’t imagine that from the fiercely explosive man I saw last night.

F: After watching PIG, I turned to Imai-kun…… and said “This is worrying for our live, isn’t it” (lol).

I: Hahahaha.

F: Then he exploded at Shibuya Public Hall (lol).

ーー So that was completely unexpected.

F: Yeah.

ーー How was MOTOKATSU’s drumming? CRA¥** testified that he was terribly anxious until the days before rehearsals started.

F: Now he’s even said “I want to play another 10 more tour dates”.

ーー He has a reckless sort of cool, I suppose.

I: I guess he was recklessly cool.

F: Ain’t that great. He even said, “I’ll become a child of SCHAFT”. I guess the trigger was that we’re playing SCHAFT’s sound instead of THE MAD CAPSULE MARKETS’ sound after all.

ーー But he was ultrasharp and attacked fiercely, furthermore, that machine-like accuracy with his beats, no one aside from MOTOKATSU can pull that off after all.

F: Yeah, he’s like a bass drum demon, ain’t he?

ーー (Lol) And how was the execution of this time’s live in terms of the remix versions?

F: Hm… If you compare it with ‘SWITCHBLADE’, they’re remixes but…… I think that it’s actually close to the original version that we envisioned when we started making it. So it’s kind of like, this might be how it turns out if we remixed that album ourselves.

ーー So you’re saying that by going through the different stages, be it the remix album or the lives, you returned to the original concept of SCHAFT.

F: I suppose.

ーー This strange flow of events is interesting.

F: It may look like our direction changes out of nowhere from an observer’s perspective, but I suppose that’s alright.

ーー No one’s blaming you, y’know~ (lol). But, like this, SCHAFT will be frozen, right, in other words?

F: But we’re releasing the live VHS too.

ーー A live album with just the sound source would be good too, wouldn’t it?    Based on SCHAFT’s nature.

F: We’ll release the live VHS in December, then the live album in February, followed by it’s remix album in May, and the 2nd album in November, how about that?

ーー A delusion, another delusion, and yet another delusion. What’s going to happen to your original bands, B-T and SOFT BALLET, if you do that?

Both: ………

F: After ‘SWITCHBLADE’ comes ‘SWITCH’, right? Then after that, it’s ‘BLADE’, followed by ‘SWITCHBLADE RETURNS’ (lol). And lastly, it’ll end with ‘The Last SWITCHBLADE (最後のSWITCHBLADE / Saigo no SWITCHBLADE)’. But then ‘SWITCHBLADE Returns (帰って来た SWITCHBLADE / Kaette Kita SWITCHBLADE)’ shows up (lol).

ーー But by the time that happens, it becomes troublesome for everyone, so it’ll simply turn into ‘7’ or ‘8’ (lol).

Both: Hahahahahaha.

ーー Anyway, back to our previous topic… In other words, you’re saying that there’s a gap between ‘SWITCHBLADE’ and the original form of SCHAFT that you had in mind.

F: …… I suppose that’s depending on the song.

I: …… There are songs like that too.

F: Because there are times when we entrust the remix to someone else and that births something that’s different from what we intended.

ーー So that means that ‘SWITCH’, which was remixed by Fujii-kun, is far more correct, and actually, I, too, prefer ‘SWITCH’ over the album (lol).

F: You’ll definitely like ‘BLADE’ much more then (lol).

I: Even though we really don’t know if the live VHS will be named ‘BLADE’ (lol).

ーー But this round of SCHAFT’s activities seem to have become a catalyst that made your absurd ambitions swell even more, didn’t it. Substantially.

Both: ……(Lol)

ーー Heeeey.

F: I asked Imai-kun before about this, but there’s another band called SCHAFT, spelt differently, in the UK.

I: Furthermore, they’re do enter the charts once in awhile. But now there’s not a trace of them left……

F: That’s why we thought of wanting to achieve higher rankings than them in the British charts.

ーー But you’ll have to change your name to “SCHAFT JAPAN” (lol).

F: We’ll go with “SCHAFT帝国 (SCHAFT Teikoku / SCHAFT Empire)” (lol).

I: Hya hya hya hya. But…… I’d like to do this…… next year too…… (lol).

 

Imai「Even if I played something and think that “that’s a cool tune”, it can’t be heard under all of SCHAFT’s noises at all (lol)」

 

ーー I really do wonder what on earth is this appeal of SCHAFT that makes those involved in it so excited about it.

I: …… It’s fresh…… and it’s fun, isn’t it.

ーー That’s all I can see.

I: (Lol) Yes, that’s right.

ーーSo what’s the freshest part of it? That it doesn’t exist in the form of a band, or that you don’t have to stick within the lines of your original bands to do this, or something else.

I: Well, there’s that too…… and because it’s also cool.

ーー (Lol) This isn’t an elementary school student’s reflection essay, y’know. What do you think of Fujii-kun as a creative partner?

I: …… He’s reliable, very much so. Be it for sound production or for the stage, his ideas just keep coming too.

ーー For example, when it comes to the guitar parts, it’s not like B-T’s where there’s a distinct “introduction, development, turn, and conclusion” or a clear presence the song’s melody, so isn’t it only natural that the perception is different?

I: There aren’t that many variations in sound but……Sounds are sounds, so even if I played something on my guitar and think, “Ah, that’s a cool tune”, it can’t be heard under all of SCHAFT’s noises at all anyway (lol).

ーー That’s true.

I: That’s why it was a little tough on that end.

ーー In other words, there aren’t any band-specific highlights, and any preparation for solo parts will be absolutely unthinkable too.

I: Yeah…… That’s why the feeling I get on stage is different too, and that was fun.

ーー What about Fujii-kun?

F: Wh-what? Uhm…… What bothered me was standing around in weird positions, like the middle of the stage and such (lol). So on the contrary…… I kind of got the feeling that we’re a band (lol).

ーー As I watched, what came to mind was that Imai’s enjoyment came from the standpoint of being separated from a band, but Fujii-kun’s excitement, on the other hand, was like that of a first experience in a band… It illustrates the difference in character between both of your original bands and that was amusing.

F: Well it was band-like (lol).

ーー What is this band-likeness that Fujii-kun is referring to?

F: Something like that.

ーー Wahahahahahaha.

F: How do I say this…… Strangely enough, my colours haven’t been determined, have they? When I’m with SOFT BALLET, aren’t I a motionless, angry person? It’s because I don’t have to be conscious of that, and I can move my body even as I’m playing the keyboard too.

ーー It might be the first stage persona that appeared in Fujii Maki right.

F: Ah, that might be so.

ーー And yet, on the side, this one (←talking about Imai) is doing weird things.

I: This one (lol).

F: Hahahahaha. Weell… Just as I thought “I suppose I should go to the front”, and I’m heading to the front of the stage,  Imai-kun gets there ahead of me. “Ahhhh, oh crap, right then, I’ll go in front at the start of the next phrase”, and then Imai-kun steps out, “Oh no no no no, craaap” (lol). It couldn’t be helped so I stood in the centre and played, then Raymond comes from the side, staggering and collapsing towards me, and I thought “Uwawawaa, this is baaad” (lol).

ーー It’s like the nail that  doesn’t fit in getting hammered down.

F: Yeah (lol). But I thought they were all so cool. Like I wanted to try spinning round and round once too (lol).

 

Imai「When Raymond loses it a little……」
Fuji「Fufufufufu」

ーー Aren’t there any designated roles in SCHAFT?

F: That’s not the case, I suppose it’s because its the kind of sound that allows you to be free?

ーー You saying something like that makes me want to ask you, “So does that mean that you can’t be free if its SOFT BALLET?” (lol).

F: No, that’s not the case but, well, there’re a few things……

ーー Kukukukuku.

F: I always say that I don’t like doing lives but, it’s fun, you know?

ーー In other words, it’s the freedom of gigging, or maybe it’s your first experience of the impulsiveness of live performances that happens during a band’s early stages??

F: ……Hmm, that might be it. So…… The first time an amateur band gets on up stage…… This feeling is probably similar to that.

ーー But I think that people who have never tasted those sensations by now would’ve found it weird though.

F: Hmm, perhaps I might’ve experienced it before, feeling that…… peculiar sense of unity (lol).

ーー Come to think of it, this is also Imai’s first time performing lives that aren’t B-T’s, right?

I: …… Well, it’s the same in B-T but it’s that feeling of wanting to go closer to the other 3 people (lol) while playing my guitar. But when Raymond loses it a little……

F: Fufufufufu.

I: You wouldn’t think that he’s like that as a person, but he’d immediately stagger and collapse onto you so (lol).

F: I heard about this from ISHIG∀KI-kun*** but while us two were performing the 5 songs for the first half, Raymond was guzzling down Vodka in the back. So, I think he was probably dead drunk by the time he came up on stage.

ーー This means that his actions on stage are nothing more than a product of intoxication (lol).

F: During rehearsals, he sat on my keyboard and fell over too.

ーー (Lol) So lastly, let me, once again, ask for a concrete answer to what SCHAFT’s ambitions are.

F: We want to keep going until we at least reach ‘SWITCHBLADE Returns’ (lol).

ーー In last month’s issue, you also said that you “want to release at least 2 or 3 different remixes”, so does that mean that you have even more approaches for remixes?

F: But I’m already quite satisfied with what we’ve got. We’re rather satisfied with the arrangement for this time’s live, aren’t we? And there are of course good mixes in ‘SWITCHBLADE’ as well, and ‘SWITCH’ was done nicely too, and there are also songs whose live arrangements are the best.

ーー Well, I suppose a best-of album then. A combination of all three.

F: A best-of album, that’s a good idea.

I: A best of already (lol).

F: Making a best of album is one other way, isn’t it.

ーー (Lol) What formidable efficiency.

I: I want to…… do an overseas…… release. We’ll be able to do that, for sure.

ーー So what are your plans after SCHAFT?

I: Once it ends, it’s B-T. When I woke up yesterday, I thought, “What the hell, it ends today” and I felt depressed… I completely forgot about the Osaka live that was to come after that (lol).

ーー (Lol) What if you could continue with SCHAFT for another 2 months?

I: I’ll do it!

F: A nation-wide tour, right…… But SOFT BALLET has to start in November so……

 

 

 

 

Notes:

* Gou Hiromi (郷ひろみ) is a singer who originally started out under Johnny’s. He does some acting too. Official site

** CRA¥, also known as Ueda Takeshi. Bassist of THE MAD CAPSULE MARKETS.

*** ISHIG∀KI, guitarist for THE MAD CAPSULE MARKETS at the time.

 

 

 

Translation:Yoshiyuki
Scans: Spanielonthemoon on tumblr

 

 

Shousetsu JUNE 20th Anniversary Talk

月刊 小説June
October 1998

Interview = Miyake Yuu
Photos = Kajiki Norio

 

As ISSAY-san smokes his Gitanes cigarettes, and Atsushi-san drinks his preferred full-bodied Italian red wine, the two men look like they’ve come from a scene out of a movie. 3 days before this interview, they met backstage where ISSAY-san performed his mime but did not have the time to talk much. As such, this will be the first time in half a year that they will be chatting over drinks like this, and in this conversation, we will be hearing about a variety of stories from them, beginning with the moment when they first met.

 

Profiles

ISSAY
Born on 6th July 1962, blood type AB. Vocalist of DER ZIBET, he debuted in 1985 with “待つ歌 (Matsu Uta)” and has since influenced many Visual-Kei bands. This 26th August, he will be releasing the debut album of his new group Φ (PhI).

Sakurai Atsushi
Born on 7th March 1966, blood type O. BUCK-TICK’s latest release is “SWEET STRANGE LIVE”, which was recorded on 8th and 9th May during their Budokan live. Both the disc (CD) and the film (video) are currently on sale. The film is their first live recording in 6 years, while the disc is their first live album.

 

As I listened to it, somehow, I had a feeling of “liking” it」- Sakurai
Just as I thought that they might be scary, they turned out to be really nice people (laughs)」 – ISSAY

ーー Since this is the magazine’s commemorative interview for our 20th Anniversary issue, I’d like to talk about memorable moments that you’ve had with each other, be it from when you first met, when you collaborated on each others’ albums, or on other occasions. First, can you tell me about how you first met?

ISSAY (I): On TV or something…

Atsushi (A): That was the first time we met?

I: That was probably the first time we properly greeted each other. In the basement of Rokumeikan (鹿鳴館). I’ve known of your band prior to that though. … That’s a long time ago, isn’t it.

A: It sure is a long time ago. Around 10 or 11 years ago.

I: Say, it was a live performance for a TV recording or something in Rokumeikan… So, I think we were in the same dressing room together.

ーー So that small dressing room was the place where you first met.

A: Before that, I think, back when we were still an amateur band, I happened to pass by DER ZIBET’s live at Shibuya’s Eggman… My friend forgot their dubbed tape of DER ZIBET’s first album at home, so that was the very first encounter (smiles). As I listened to it, somehow, I had a feeling of “liking” it. Following that I memorised the name, and by chance, as I was walking around in the streets of Shibuya, the words “Performing today DER ZIBET” appeared, so going in on a whim was that first time. At least for me, one-sidedly.

ーー How long ago was this from your meeting in Rokumeikan?

A: Maybe 3 years before that? Or was it 2 years?

I: Probably around 2 years.

A: You performed “FLOWERS”…

I: When we released our second album?

A: One-sidedly, I’ve been deeply in love since then (laughs).

ーー So does that mean that when you met at Rokumeikan, you mentioned that you saw his live at Eggman or…

A: No, I think we didn’t go there.

I: We greeted each other, and since I also knew of BUCK-TICK the band, I thought, “Ah, perhaps they’re them?”. Just as I thought that they might be scary, they turned out to be really nice people (laughs).

A: Weren’t you so tense that you could only greet? Somehow, looking at it from my perspective.

I: Because of how shy I am, when we first met we only greeted each other, didn’t we. Like “nice to meet you” or something (laughs).

ーー What made you start talking to each other more?

I: What made us really grow close was definitely London, wasn’t it. But even before that we did kind of talk on the phone. What was it… … Somehow, it could be when we suddenly bumped into each other when we went to watch Peter Murphy’s live, or when we suddenly met during our tours.

A: You’re right (laughs).

I: When we were going back from the outskirts…

A: It was a parking area on the Tomei expressway. We spoke about that time with writer Imai Tomoko-san too (laughs).

I: I think, that was the second time that we met, wasn’t it. At the Tomei expressway parking area.

ーー Were the both of you going in the same direction? Or did you happen to pass each other when going in opposite directions?

A: We were going in the same direction.

I: You were heading home from Nagoya or something, I think, and I was also on the way home from Nagoya or Osaka.

A: It really was a coincidence, wasn’t it.

I: Unexpectedly. At first, Yuta-kun or someone came to me. I couldn’t tell who it was because his hair was put down (laughs). After that, Peter Murphy was probably the 3rd time or something.

A: Wouldn’t that be the time at Iggy Pop?

I: Ah, that might be Iggy. We might’ve met at Iggy’s live.

ーー So be it Peter Murphy or Iggy Pop, it was at one of their concerts that you met by chance again, right?

I: It was at Nakano Sun Plaza or something, wasn’t it. We exchanged numbers at some point in time. So, I think how we grew closer following that was when the both of us were going to London for recording in the same period of time and a message along the lines of “it would be nice if we could meet” came into my answering machine. And I heard that there was a live, so since it was near the studio, I went to watch it with my band members.

ーー Was that when you were recording in a studio around Kings Road?

I: We were at Fullham Broadway.

ーー Was the live house in the vicinity of Kings Road’s Antiques Market?

A: I’ve forgotten the name (laughs).

I: I don’t think it was Kings Road, was it.

A: Though I think it was in an area that isn’t as prominent.

ーー So, you even managed to meet again in London.

A: In the dressing room. Though it was as if ISSAY-san was there and not there at the same time (laughs).

I: No way, really? Was I being out of it? (laughs)

A: No, you made me think “ah, how nice” (laughs)

I: It was like something took over me right. As if I was possessed by something (laughs). But Acchan, weren’t you swept away after that live?

A: Was I? (laughs)

I: Weren’t you blanking out? Your eyes. I thought, “ah, I guess you can’t talk much”.

A: In London… that was by chance too, wasn’t it, our recording periods overlapping.

ーー Following that time on the Tomei expressway, that was the 2nd coincidental meeting?

A: No, that coincidence was the 3rd or 4th…

I: There were tons of coincidences.

 

「I remember feeling extremely relieved. Being in a foreign land…」- Sakurai
「A weirdo I know has come (laughs)」- ISSAY

ーー As you mentioned earlier, you’ve put in a message on your answering machine saying something like ‘it would be nice if you could meet’, but in reality, did you contact each other before the event to agree that you’d both go then?

I: I did call, asking if he could go… … And he said, “Ah, I can go”, so I said, “All right, let’s go”.

A: I remember feeling extremely relieved. Being in a foreign land…

I: A weirdo I know has come (laughs).

A: Being able to meet ISSAY-san.

ーー Back then, was there time for the both of you to go drinking together or anything like that?

I: We didn’t go drinking or anything of the sort, did we.

A: Yes. If anything, I’m not very good at asking others out for drinks. It’s like, isn’t there a kind of audacity in that?

I: That’s not true (laughs).

A: No, it’s there (laughs). I’m not good at making calls to people in the first place, so because of that, I only ever feel prepared to make calls around once or twice a year.

ーー What about showing up in the dressing rooms when either of you have lives…

A: I have been asked to go. Though I don’t do it very often. If anything, I’m not good at dealing with such things as well so… But I wanted to go as much as possible so I did drop by a few times at Power Station, along with some other places.

ーー I believe that there will be many people during after-parties and backstage so I assume that there weren’t many chances for you to have casual conversations, right?

A: Back then, there was no time at all. Because I’ll already be feeling like “Oh no…” (laughs).

ーー When did you start getting that “Oh no” feeling…

A: Because we were given the opportunity to talk on occasion through magazines like this, since then, I’ve felt it a few times.

I: And also, I basically won’t call someone up and ask them out for drinks, you see. I think Acchan is somewhat like that too though.

ーー Did the thought of taking part in each other’s albums come up while you were having a conversation?

I: No, between us, we had a common friend, and when I casually uttered something like, “Ah, how happy it’ll make me if Acchan would work with me~”, he conveyed it over (laughs). From that came his (Sakurai’s) participation in DER ZIBET’s “思春期(Shishunki)”.

ーー How did Sakurai-san feel when you heard of this through someone else?

A: The moment I heard about it I got nervous (laughs). But I was very happy. Truly.

ーー What memories do you have from his participation in your album?

I: The song was written within DER ZIBET so HIKARU brought the motif of a particular song, and there was a song that made him say “I think this is the one”, and then he (Sakurai) came over to our studio right? Once? Right then, I asked, “This is the song but… is it a no?” and he said he liked it and he sang for me.

ーー During recording, was it also done in a state of nervousness? Or were you able to participate without the nerves?

A: No, there was nothing but nervousness. But ISSAY-san, and HIKARU-san and the others urged me to relax. At the time, though, I was given the opportunity to work with ISSAY-san in a song, a duet. I was initially nervous but later on, I found myself getting chills. Because we were somewhat the same.

I: ”Somewhat” the same, right (laughs). When it was finished, everyone said “Your voices are so similar that I can’t tell who’s who”, didn’t they.  I was like “is that so?”.

ーー Following that, ISSAY-san, in turn, took part in BUCK-TICK’s recording too.

I: Well, after that, he took part in my solo work as well. I thought it would be terribly amusing if two men were to sing this (laughs). But I did wonder, what if he hates it. And then, surprisingly, he understood what I was getting at in the laughable parts, the serious parts, and all that. Atsushi-kun’s key is lower than mine, right. My key is higher but, at that time, conversely, we used an atypical technique where I sang the lower parts and Atsushi-kun sang the higher parts, but somehow that felt great.

 

「(Their) stage is very stimulating. It’s an heirloom, isn’t it」- Sakurai
「I thought that (he has) an amazing presence when I stood on stage with him」- ISSAY

ーー Was there a reason for that?

I: No, I don’t think I’ve sung in this key much, and I don’t think that Atsushi-kun reaches this key often either.

A: Before that, when you invited me to the Shishunki live and asked me to go up on stage, that came first, right.

I: The live that came after we released our single, I think it was at Kudan Kaikan (九段会館). At that time, when I requested him to come, he willingly did. Back then, the tour came first, and the last one was at Kudan Kaikan. And it’s lonely to sing alone in the district, isn’t it? Like, why am I singing alone (laughs).

A: It was the same for “Rockstar” too, wasn’t it?

I: That song, singing it alone even though it’s a song for two to sing together, isn’t that lonely.

A: (DER ZIBET’s) stage is very stimulating. It’s an heirloom, isn’t it (laughs)

I: I thought that (Sakurai-kun has) an amazing presence when I stood on stage with him.

ーーOn the other hand, how does it feel when Sakurai-san’s on stage with ISSAY-san?

A: Well, I guess, you could say he makes me feel very excited… There were no meetings, nor were there staging decisions made in advance, he gave me the freedom to do it however I wanted to but it was very, how should I say this, like a feeling of acceptance… I was very nervous but giving me such freedom to do things, accepting me, and responding back in the same way, maybe for me, maybe on his own accord… it was a very high-tension space. I thought that something like that was a first.

I: The tension was very high for me too. Not only have I never split an original song between two people to perform, but I’ve never done that on stage before either. Since it’s my first time doing this, the tension on my end was raised as well. A song is a song, so we created extra tension, didn’t we (laughs), since it wasn’t a cheerful song.

ーー The chances of something like that, which is like a dream come true, happening again… Is it close to zero?

A: No, I don’t think that’s how it is.

I: About 3 years ago? Or has it already been 4 years? Since you called on me. Has it already been 4 years since then? When Atsushi-kun contacted me, asking me if I would like to be a part of BUCK-TICK’s recording, I was so happy I said “Eh, really? Are you sure?” (laughs)

A: I had nothing to lose… at that time.

I: Is that so? I was so very happy. Because that was another great song, with great lyrics.

ーー I do believe that everyone is eagerly looking forward to the next such opportunity.

I: When we were recording that, it was interesting, wasn’t it? At the start, we sang seriously, finished it, then decided “well then, let’s have a drink”, and while drinking, the conversation got to my solo album and he said, “That song’s nice, isn’t it”, and when I asked “Acchan, could it be that perhaps you want to sing in that way”, he said “Kind of…”, so I said, “Alright, let’s sing it again” (laughs). Initially, we took quite a lot of time to record it but when we re-sang it since he wanted to sing in that way, surprisingly, we were able to record a lot better (laughs)

A: There’s a part in me that thought that something like ISSAY-san’s is really nice, how should I put it…

I: That’s not true, it just ends up going the orthodox way, for me, probably.

A: That’s not a problem at all, but I wanted to bring out more of ISSAY-san’s nasty side.

ーー So you’re saying that the initial recording resulted in an orthodox one but when you re-recorded, ISSAY-san’s harshness came out.

A: Something ideal did.

I: Something nasty did (laughs).

A: It’s not my song, and it’s not my recording either, so I thought that there was a sense of having to give in. To cut away that restriction and be free like this, it’s like that ero-guro (erotic grotesque) kind of feeling of eking things out, asking to do it one more time when the song is already complete (laughs)

I: But thanks to that, I’ve become confident in that harsh part of me, very much so (laughs). Like, ah, so this is okay. Thanks to that, my attitude towards singing might have also somewhat changed. Because something like that doesn’t really come up, y’know.

ーー Even to ISSAY-san, it’s as if something that you weren’t aware of yourself was drawn out.

I: I knew that that part of me existed but there was the question of “Is this okay?”, and singing this way is fine too. Following that you called on me to your lives 4 times, right? Twice in Tokyo, then Okinawa and Osaka. That tour sure was interesting. To start, everyone who watched that live thought that we coordinated our movements and had planned for it beforehand. None of that was done, none at all. But the tension was brought so high, the way that each of us moves looks like it was planned.

ーー It’s like both of your movements were naturally in unison?

I: No, the movements weren’t the same. Each of our movements was like an ensemble, there were very interesting parts, and the song too, we were instigating each other when performing it, weren’t we? Having two singers instigate each other, you don’t really see that, do you? Especially in the current state of Japan’s rock scene. If it was some kind of a session, like one where everyone is taking turns and singing a similar song together, that’s enjoyable in its own way. But such a serious contest like this…

A: Because of that, there was a glamorous feeling to it, wasn’t there?

I: Yeah, a very glamorous feeling.

A: Until then, to meet ISSAY-san anywhere else other than Tokyo…

I: That rarely happens.

A: That rarely happens so I never expected that he would come to Osaka or even Okinawa, but (he also slot it in between schedules) that coincided with his friend’s magazine interview. Travelling to the scorching hot island.

I: I went to the scorching hot Okinawa wearing a 3-piece suit. I even brought along a cane (laughs)

A: That made me happy, yes.

I: I simply just didn’t know the circumstances in Okinawa well (laughs). Since it’s also in Japan, it’s in the same country, I thought along those lines, but that was quite dreadful.

A: Ah, no, but I was happy (laughs). I was wondering what am I going to do if you come dressed in a T-shirt.

I: That friend of mine said to me, “What’s with that outfit even though you’re going to Okinawa” and I said, “It’s a summer suit though…” (laughs)

ーー What did Sakurai-san wear at the time?

A: I was wearing my stage outfit, the one that’s jet black, so it completely absorbs the sun rays… (laughs)

I: And for around 20 minutes, we were on the boat, under the scorching hot sun, having a photoshoot while headed to the island of Okinawa, I felt like dying. Furthermore, it was in the afternoon, we met at 12. Both of us don’t even wake up at that time. I thought I was already melting (laughs). Like, I’m dying…

A: It makes you think that it’s bad for your health, right?

I: I’ll never forget the line that Atsushi-kun said at that time. While being stunned, you said, “To be whittled down like this, to this extent…” (laughs). He sounds like such a littérateur. I thought, I love this person’s choice of words and expression, like, what a poet (laughs).

A: I might’ve been insusceptible to the sun.

I: You’d run away, wouldn’t you, if I asked you to say that again.

ーー What about visiting a cold region next time?

I: Yet, that place is alright, isn’t it, since there’s a lot of sunshine, really. It’s amazing. It was beautiful but I can’t go unless I brace myself first. Like, you wouldn’t have expected the sun to be that powerful. Apollo is incredible (laughs).

A: That was in the middle of summer, wasn’t it? I think it was June or July.

I: It was the end of June.

ーー It’s exceptionally hot, isn’t it? Okinawa.

 

「I wonder if you can call that dramatic?」- ISSAY
「From my perspective, it’s quite so though (laughs)」- Sakurai
「The red string of fate can be seen」- ISSAY

ーー You’ve had all those experiences leading up to your present relationship, but how do you get in touch and go out these days?

I: Going out and all, we don’t really do that, do we. Even though we say things like, “let’s go, let’s go”.

A: That said, we don’t get in touch either.

I: Not really.

A: Maybe it’s my personality, I guess I end up thinking too much… or perhaps a large percentage of the time, when you invite someone out, you’ll end up playing the role of the host, and I’d end up thinking that I don’t have the ability to do that, so… On the other hand, being asked out and having someone’s attention on me is also very… I’d end up thinking about it and I’ll just decide that it would still be best if we could meet naturally, spontaneously.

I: Like meeting up together when I happen to be drinking and I hear that you’re drinking somewhere nearby too. Say, if we’re having an after-party following a DER ZIBET live and we’re drinking in Roppongi, and if I asked “Shall we go?” you’d say “I’m coming”, and all of the members of BUCK-TICK will come on board at some random izakaya in Shibuya (laughs).

ーー Some random izakaya in Shibuya? (laughs)

I: A normal izakaya where anyone can visit, one where even university students can visit without it being weird.

A: Because everyone drinks at those places. Though, even now, we still go to these places.

ーー Right now, ISSAY-san doesn’t have one but, since there are mobile phones or PHS, you can easily get in touch, right?

I: Atsushi-kun, do you have one?

A: No, I don’t.

I: Those things, they’re no good, are they? It’s like putting a bell around your neck, I don’t like that. No matter what, I just can’t get into that.

ーー Perhaps dramatic coincidences like those times on the Toumei expressway, or in London, will happen again.

I: I wonder if you can call that dramatic.

A: From my perspective, it’s quite so though (laughs).

I: The red string of fate can be seen.

A: Because that’s how it’s been right from the start, right? My friend left behind a tape that has been stretched out (laughs). Though in those days there were records, weren’t there, I suppose much of the rotations were different.

I: The condition was pretty bad, wasn’t it.

ーー It could be that your friend listened to it over and over until it stretched out.

A: That is probably so.

ーー And after that, at Eggman.

A: And that’s the first coincidence.

I: Come to think of it, I’m going back to the previous topic but when I made an appearance during BUCK-TICK’s live, before I went up on stage, you sang a phrase “Shizumitai (沈みたい; I want to sink)” in acapella, didn’t you? And I thought, “Huh? That sounds like a song I’ve heard before”. For a moment I kept wondering what song it was. And just as I was told that I’m going up on stage, it suddenly hit me, like, “This, I’ve heard this before, what was it, ah, it’s my own song, it’s ‘Shizumitai’”.

A: For a moment you couldn’t figure it out, right?

I: You sang with such a sweet voice again.

A: What are you saying (laughs)

I: No, but, I really love that voice. Because you sang for me with a sweet and sensual voice. Won’t this man sing for me, the whole song?

A: Hey, wait a minute now (laughs)

ーー The both of you have been committed to aesthetics since before there was what is now known as Visual-Kei, but did you expect that Visual-Kei would grow to what it is now?

I: Not at all. Although I thought that it’s interesting how it has turned out like this. Because, you see, when we came out, we were being bashed.

A: Yeah, a hell lot.

I: We were being attacked a lot, weren’t we?

A: Though, it made you think, ‘ah, so this is how it is’, didn’t it?

ーー With the way that it has turned out to be now, do you think that it has become interesting? Or is it interesting in a different way than what you expected…

I: For me, personally, I think that there are pros and cons. It does have rather interesting aspects in it, but, for example, if it turns out to be a mere facade, that’s boring. But fundamentally speaking, I don’t hate them, people like that. Because it’s easy for me to understand, like ‘ah, I suppose they want to do it this way’, or this is their kind of aesthetic, and so on.

ーー Does Sakurai-san find it interesting?

A: I’m relatively unconcerned but… It’s a passive feeling, isn’t it? Though there are times when by chance, on TV, or when someone tells me about someone else, they’d leave an impression on me where I’m thinking “that’s nice”. It’s a feeling that hits me from the opposite direction.

ーー So you’re saying that there are bands that hit you with an impression that makes you think “that’s nice”.

A: Of course there are.

 

For the readers, well…… Thank you for your continued support for the both of us (laughs)」- Sakurai
Even though we’re both such people (laughs). Us two who don’t change」- ISSAY

 

ーー Since it’s been awhile that you’ve spoken to each other, is there anything you’d like to say to each other?

A: So, coming from me. Recently, (at space Zero), it was the first time that you’ve shown me your pantomime but, how should I say this, the feeling that I got from that, basically it is no different from what I felt the first time I saw you at Eggman, and I thought that you were very flexible. Very flexible, in a good way. But fundamentally, he can’t bend, he gives you the feeling that he’s not willing to bend, you can see that. At Eggman, I thought that was great. This masked man (laughs). Right from the very first impression, I’ve always thought in my mind that there’s something amazing.

ーー Was it like a reminiscent feeling of that “wowー” that you got when you saw him at Eggman over 10 years ago?

A: That’s right, though I wanted to watch in closer proximity, this time’s mime.

ーー Where were you seated?

A: My seat was towards the back though.

ーー Because the space in that venue is quite big, right?

I: I don’t normally perform in a space that large though, for my mimes. Like a place that would already be full with 180 people in it.

A: ……How do I say this, though, there are places that cannot be expressed in words.

I: They can’t be described, right (laughs)

A: Though, where I watched from was in the back, so I had the the urge of wanting to go closer to the front to see each person’s expressions, to see more. But it was fantastic, very much so. I wanted to become even more immersed in it but no matter what, there was always a distance keeping us apart after all. But that was wonderful. I’ve not seen many performances like that but it was similar to when such theatrics visited my elementary school’s auditorium or something when I was still a child, and from there came an emotion that’s akin to feeling a little frightened, where you’re afraid but yet you want to go into it, little by little.

ーー Instead of an intrusive fear, is it more like a fear that you can’t look away from?

A: Yes, because it felt like the strings would snap there and then if I took my eyes off them, there was that kind of precarious feeling there, and at the same time, there was a lot to enjoy, wasn’t there? The music was exceptional too.

ーー Are there any scenes that left an impression on you?

A: Scenes?

ーー Or maybe actions, as well.

A: Well, there were a lot of different elements that came together, so it’s definitely the ambience… The ambience in the start was so good.

I: The start?

A: …「I love you」. I thought, ‘whoa, how nice’ (laughs).

I: Nah, it’s important to do that unabashedly, saying ‘I love you’.

A: At that moment, I thought that it would be great if I was seated a little closer to the front (laughs).

I: You thought so? You did?

A: At the least around 2 rows away, diagonally behind from where ISSAY-san stood.

ーー Even if the seat was empty, it would be difficult to move there, wouldn’t it? Since there will be a distinctive tension in the air when it’s dark.

A: Even in a concert, if you go from sitting in front to sitting in the back of the second floor, the atmosphere changes a little. Seeing becomes spectating.

ーー Even when the stage is being filmed, there’s an objectivity where you’d want to capture the audience’s excitement when you aim towards the back, but when you’re filming from off stage, in the audience, the mood is like what you’d feel as a fan, perhaps, where you directly feel the moment that makes you think that the person on stage is cool, and that, again, is something completely different, isn’t it?

A: Ah, but that was wonderful. It gave me the feeling that he’s definitely an expressionist after all.

I: Thank you.

ーー May we have a comment from you for the readers of the magazine?

A: For the readers, well… Thank you for your continued support for the both of us (laughs).

I: (laughs) We’ve known each other for a long time though, in a good way. Really, as artists, there were parts that have changed through the years, and what’s the absolute most important point, it’s close to what we’ve talked about earlier, but, it’s to be constant, unchanging. I think that this is a very important factor, isn’t it? I really love that unchanging characteristic of his. That the most important thing of all, for humans, is to have the intention to never change what they love and what’s important to them. And because he comes across to me as someone who shows that very clearly, that part of him, it was as expected that when I went for BUCK-TICK’s live late last year, I found myself thinking that when it comes to this person, once you’ve watched him, you’ll definitely become a fan. Because he was just so attractive. It makes me think that, as it is, even if he were to change the way he does things, I’d want him to go with being “unchanging”. I think that this is probably the Atsushi-kun that I love. Even his eyes, they’ve never changed from the moment when we first met until now. I want him to stay like this because there aren’t many people like him, honestly. Right now, I think that he’s an invaluable person even within Japan’s rock scene. Just like this, steadily, even while he changes, I’d wish that he continues to be invariant. With regards to the readers, it really is as Atsushi-kun said, isn’t it. Even though we’re both such people (laughs). Us two who don’t change. For me, this is the only thing that I can do. To be truly grateful for the support.

ーー For our magazine as well, we’ve gone through a lot during these past 20 years, but in future, perhaps for the 25th anniversary or the 30th anniversary, or maybe if we cheat a little and go with the 22nd anniversary or something (laughs), if there’s another opportunity, we’ll definitely be looking forward to having you here again. Thank you very much for today.

 

 

 

Outtakes

They got excited over talking about games and both agreed that the visuals in “Biohazard (a.k.a. Resident Evil)” were interesting.

A: I’d end up shooting the gun without thinking

I: I’d be so deeply absorbed in the game’s world that, for example, when I see a dog when I’m walking down the street, I’d be thinking things like “I can defeat this with a gun” (laughs)

When they were asked to sign autographs on paper as a gift for readers:

I: Acchan, which side do you sign on?

A: For us (the band) we have 5 people so I’m always in the middle

I: That’s hard to balance out with 2 people, isn’t it (laughs)  Your signature, it’s in English?

A: I actually love Kanji, but writing so many strokes became a pain (laughs)  The number of strokes left me defeated (laughs)

 

 

 

Translation: Yoshiyuki
Scans: Ameblo

 

Drinking Diary/Afterparty (Extract)

Ongaku to Hito
September 1995

Text = Ichikawa Tetsushi

 

In Russian

 

Ichikawa Tetsushi’s Drinking Diary – #61

 

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Monday, 26 June. Naha / Ryūkyūan* restaurant → The usual Soul Bar (first “endless drinking” in a long time).

I flew to Okinawa with ISSAY to wait for B-T. The way Sakurai broke into a wide grin as soon as he sees ISSAY’s face said, “Ahh, it’s a good thing I forced myself to move this tired body and come ♡” …… Ooooor maybe I’m just imagining things. At around 5 a.m., I and ISSAY made our escape first, and because ISSAY is around, I was able to leave by force and Imai, who couldn’t stop me from doing so, glared with hatred in his eyes. Ohh, this time, I have a good weapon with me!

 

Tuesday, 27 June. Naha / Sushi restaurant → Cabaret club that’s actually a lingerie pub** → Soul bar (“endless drinking” 2).

I drank a lot of Sake with Anii at a sushi restaurant and then got abducted by the local event organiser to a lingerie pub. Refer to the “Afterparty” for details of this “Lingerie Pub Tragedy”.

 

Wednesday, 28 June. Naha / Steak restaurant → The same club → The same soul bar (“endless drinking” 3).

When we went to our second destination, the club, the ladies who I met 2 years ago at another club were there. That frightening coincidence killed me. Also, Sakurai was being teased and called a Shisa***. We drank until 5:30 a.m. again today, and just as I thought of seizing the opportunity to flee now that Imai was turning into a Jizo statue, Imai surprised me by waking up all of a sudden as if by some animalistic instinct. This guy… I wonder if he will keep drinking even if his head gets cut off?

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end.

 

 

 

 

This Month’s Afterparty

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Tuesday, 27 June

1 p.m., Sakurai Atsushi + ISSAY’s “Decadent Conversation in Midsummer” at the far-flung Okinawa. They were to have their photoshoot at Kudaka Island, one of the Islands of God which was a 30-minute ferry ride from the main Okinawa Island, but as usual, Sakurai hasn’t appeared. Ichikawa goaded Imai Hisashi at last night’s drinking session.

“Tomorrow, we’ll be going to the island in the afternoon for a photoshoot but don’t you think it’s the absolute best to spend the middle of summer drinking co~ld beer?    Imai, come join us at 1 p.m. tomorrow, come, come!”

“Uh…… I’ll go if I can wake up.”

“Ah, you don’t have to force yourself.”

“I’ll go!”

No one trusted him to, but Imai arrived at the lobby at 12:30 p.m. wearing a jersey and he asked the staff, “Am I still in time?”

“We’re gathering at 1.”

“Thank goodnessー.”

Imai, who hastily got changed, has arrived earlier than Sakurai!

“It was late when I woke up and I thought, ‘Oh shit,’ and panicked.”

Even Imai will turn^.

Without being beaten by the absurd amount of bobbing on the boat, we landed on the 34°C island at 2:30 p.m. Our return ferry would leave at 4 p.m. and that was the only one, so the photoshoot went at high speed. The two men posed on the rocky coral embankment heavily decked out in their European flair ―― while perspiration trickled down. Also, in the meantime, the group got scared by long-legged starfish coming out of holes, gigantic woodlice running around on the rocks, and moray eels swimming in the shallows. Ah, Imai turned pale. He~y, drink your beer ―― But as depicted, Imai made a full recovery.

It bears noting that in the picture on page 126 (the last picture featured here), the scoundrel looking upon the happy couple of  “balmy Showa seas decadence” from the shadows of the rocks, ready to tear their relationship apart is, of course, Imai.

And next, what the weary Ichikawa troupe had been waiting for; the lingerie pub, “Dorikamu” which was also touched upon in the Drinking Diary! In this establishment, it’s to be expected that the lingerie-clad ladies will sit next to patrons, and every 30 minutes, Dorikamu’s famous Talk Time will take place, where the ladies will sit on a patron’s lap to talk to him and at the end, she will dance with her crotch gyrating 5cm away from the patron’s face. To add to this, of all men, the one who got picked was he who was the most indifferent to such behaviour; ISSAY. ISSAY’s eyes were wide open and his body absolutely rigid ―― Yuta, who was seated far away, ran up to him, “ISSAY-san, are you okay?”. Now that it had ended, ISSAY reasoned, “I thought I might die but I’m alright. Since I’ve been holding Atsushi’s hand throughout.”

Uh… huh.

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end.

 

 

 

 

 

Notes:

* Cuisine native to Okinawa.

** Basically a bar where all the hostesses wear lingerie.

*** A Shisa is an Okinawan lion dog statue usually placed on rooftops to protect against evil spirits. Also known as an Okinawan guardian lion.

^ The phrase used here was based on a Japanese saying (一寸の虫にも五分の魂) but here, the 虫 (bug) has been switched to 今井 instead. The English equivalent of this saying is, “Even a worm will turn”, meaning that even the meekest or most docile of creatures will retaliate or seek revenge if pushed too far.

 

 

 

 

 

Translation: Yoshiyuki

 

Related articles:

[Sep 1995] Ongaku to Hito: Let’s rethink B-T SPECIAL, part 2 of 2
A Decadent Conversation Even Under The Sun with Sakurai Atsushi X ISSAY

 

Let’s rethink B-T SPECIAL, part 2 of 2

Ongaku to Hito
September 1995

Interview = Ichikawa Tetsushi
Photos = Koij Kayano

 

Following last issue’s major feature of Hisashi Imai + J’s Passionate Fanboy Declaration Dialogue from Takamatsu, this month’s second part of the B-T Review SPECIAL comes to you from Okinawa.

BUCK-TICK’s first live show in 3 weeks which was held on June 28 at Naha Civic Hall was presented the same way as their first few shows of this tour; their main set comprised entirely of songs from their latest album Six/Nine. Without a doubt, rather than the “spirit of fanservice” which we get when they perform BT classics like “Speed” or “ICONOCLASM” midway, I far prefer this present strong structure which bravely sticks to only their new songs. I like them, and the way they unhesitatingly declare their conviction of “being a liberal band unbound by the currents and trends of the market” gets me excited about the future of this one-of-kind presence.

Of course, this conviction was fully reflected in how good their live show was. What should have been a very “elaborate” set of songs was brought to life by a superb band ensemble that created an unusually groovy atmosphere. Sakurai’s cul-de-sac aesthetic was on full display as he his jacket around his head and writhed wildly, danced around crazily like Bryan Ferry, and “broke” rather intensely. OK OK. The highlight of it all was probably his agonisingly decadent duet of “Itoshi no Rock Star” with their guest ISSAY, who he last performed with on May 17 at Nippon Budokan. With all the passionate kisses exchanged, the performance felt like a true demonstration of latent potential of the Japan’s aesthetic rock.

In fact, ISSAY’s guest appearance was in response to Sakurai’s fervent request for a second interview (← The first was published in our May 1994 issue) and next to making that happen this time in Okinawa, it went on to his appearance at their live show too. Well then, time to read about this decadent duo who have burst out of their unlocked basements and into the mid-summer beach.

 

Atsushi Sakurai (BUCK-TICK)+ISSAY (Der Zibet)

A decadent conversation even under the sun

 

 

 

ーー I suppose the two of you have never been under direct sunlight this strong together before (smiles).

Sakurai (S): Mm, it’s been a while.

ISSAY (I): (Smiles) It has the power to make anything and everything grovel before it, doesn’t it? Sun rays.

ーー Right then, this came about from Sakurai’s ardent imploring during recording to “have another interview”.

I: While we were having drinks together I had said to Atsushi that “it would be fun if we performed together again”, you see.

ーー Whether it’s for recording or for live performances, ISSAY’s involvement is the first time that B-T had an outsider joining in, but Sakurai’s recent ardent yearning and reliance and love for ISSAY is really something.

S: Mm…… Um…… It’s in return**.

I: Hahahaha.

S: He’s invited me to join him as a guest numerous times as well (← Guest appearance on the track “Masquerade” from Der Zibet’s album, Shishunki Ⅱ and their live at Kudan Kaikan + Guest vocals on the track “Koi no Hallelujah” from ISSAY’s solo album, FLOWERS).

ーー The decision to have him take part as a guest on this album’s “Itoshi no Rock Star (My Favorite Rock Star*)” came from Sakurai yourself, right?

S: Yeah. Mm…… On impulse (smiles).

I: Impulses are important, you know (smiles).

S: ISSAY-san’s the only one, right? For that song (smiles).

I: A kind of super dark voice left a message on my answering machine, asking, “…… Are you free” (smiles). So I thought, well, anyway, I’ll have him show me the lyrics, and when I read it, the sentiments that Atsushi now possesses were laid out right there as they were, and I thought that they were really great lyrics. Furthermore, the music goes straight into [the territory of] pop too.

ーー But that was a song that Sakurai was particularly troubled over “whether singing about such a thing is okay”.

I: Perhaps he was worried about something (smiles). Even though there’s nothing to be all that worried over.

S: After all, it was a time when the words made me…… exceptionally nervous, so, this feeling that…… I’d hate to feel the pain of people listening to the song and thinking, “He didn’t have to take things that far”, I had that.

ーー Because that song was a cynical one for fans about yourself as a rockstar, and the industry that you’re in, wasn’t it? But since it actually became this album’s most popular song among the fans, it’s hilarious, isn’t it (smiles).

S: Ahahahahahaha.

I: You see, those lyrics weren’t [written] with the intention to attack anyone. They’re lyrics that are pointed in the direction of the person singing them, so it’s about whether or not you’re capable of confidently singing it in a pop setting, isn’t it? That’s why I was really happy that you’d have me sing such a song though.

ーー Ooh, ain’t he reassuring backup.

S: Yeah, or more like a powerful ally (smiles).

I: Hyahahaha.

ーー How did the recording itself go then?

I: You know, the singing— We sang it a number of times quite seriously before we finally made an okay take, but after that, anyway, in celebration of a job well done, we went for drinks and while we were chatting about this and that, it got to a point in the conversation where he said, “I like ‘Itoshi no Macks’”, and he went in a roundabout way to say something like, “That style of singing is great”, you know (smiles).

ーー Wahahahahaha.

I: If Atsushi said, “I want to sing like [you did] in ‘Itoshi no Macks’”, I’d just be like, “Something like that…… might be good” (smiles). Then I’d think, ‘Ah, is that so!’, and then, “Well, then we’ll try that ludic singing style from ‘Itoshi no Macks’ and if they fire at us then so be it” (smiles). So, we sang it only once through and it was given the OK, and though I asked, “Is this reeally okay?”, I was kind of pleased (smiles).

ーー Please properly state what you’re hoping for right from the start.

S: Yes (smiles). It’s because I wanted ISSAY to bring out that part of him. Isn’t it to be expected that you’d be nervous when recording with someone? If he has the impression that (he) can’t step out of the box, I wanted him to be able to do it comfortably so…….

ーー But it took you an hour to beat about the bush and then say it, didn’t it? What an unmanly guy (smiles).

S: But, y’knowー♡ (smiles).

 

ISSAY「“Aniki***” (Smiles)」Sakurai「That’s dangerous, strangely (smiles)」

ーー This is a song where Sakurai can finally sing about his own dilemma that he’s always held between his rockstar self and his regular self but he was able to demonstrate it with help fueled by compassion deeper than the sea from this “aniki” known as ISSAY.

I: “Aniki” (smiles).

S: There’s something dangerous in saying “aniki”, strangely (smiles).

ーー No, no, the “aniki” type of relationship fits you both.

I: “Aniki” is like those pachinko machines, you know those?

S: Reallyー? (Smiles)

I: (There was one) that had macho aniki’s on the board, like those drawn by Hisashi Eguchi^, doing synchronised swimming and getting flogged and all that (smiles).

S: Dangerous (smiles).

I: I’ve only played pachinko 5 times before in my life, but I’d definitely like to try playing that machine.

ーー (Smiles) You’ve performed together at lives in Tokyo twice, and undoubtedly, it was as if the world of these “aniki” unfolded on stage.

I: Performing that song was so much fun, you know, with [an uncertainty regarding] how the other appear would appear (smiles). Which is why there was a staggering amount of tension, y’know, the both of us (smiles). And we were watching each other closely to decide on how we’d move on our own― Doing that, we ended up getting questions from fans like ‘Was it choreographed?’ and things like that, didn’t we (smiles)?

ーー If you choreographed that, you both will become slaves to lust at every rehearsal (smiles).

S: Hahahaha. That’d be nice (smiles).

I: Ichikawa-kun didn’t see the Budokan performance, but Budokan’s was an evolved form of Liquid Room’s.

ーー What do you mean by “evolved form”?

I: It became more intense (smiles).

ーー Is it maturation or degradation? But B-T fans also welcomed you enthusiastically, so that was great.

I: Ah, but I was thinking about what I should do if they were dead silent when I get called (smiles).

ーー I understand that feeling.

I: Then, you know, our HAL-chan (bassist of DZ) came to Budokan to watch and I was suuper happy (smiles). Furthermore, before I was introduced, Atsushi suddenly sang “Shizumitai (←Der Zibet’s little known masterpiece that heralded the dawn of Japan’s decadence (lol))” in acapella.

ーー You did that?

S: Did I ♡ (smiles).

I: Initially, I was still thinking, “This is DZ’s song but what was itー” (smiles). Then HAL-chan was touched that it struck home for him and it was added into current DZ’s tour setlist, you know (smiles).

S: Wonderful一 (smiles).

I: Though I was happy that everyone welcomed me so warmly this time (smiles).

S: There was a vigour. Like “It’s a warm welcome!!” (smiles).

ーー Probably yours (smiles). But this was the first time that B-T has invited a guest to their live, right?

S: Yeah. I guess, in terms of reliability or something― ISSAY-san is reliable. And being able to feel that our own band members are reliable too, for some reason.

ーー What do you mean by your members being reliable?

S: I suppose it’s probably dependent on the different atmospheres that we take in.

I: A different kind of tension; that might be the case.

S: The feeling that our breathing is perfectly in sync.

ーー On the other hand, what’s “Itoshi no Rock Star” like during the tour when ISSAY isn’t around?

S: It’s lonelyー (smiles).

ーー So this means that you’re happy about the last-minute, first-in-a-long-while duet that will be coming true tomorrow at Naha Civil Hall.

S: Yes (smiles).

ーー (Smiles) But I do wonder what the B-T fans think about Sakurai’s yearning for ISSAY.

S: Ahh…… I don’t really know. I guess they think (of him) as “aniki” (smiles).

I: Hahahaha. “Aniki” (smiles).

S: (Smiles) But after all, in terms of type, I suppose…… At a glance, you’d be able to tell, right? That ISSAY-san is like this and Sakurai Atsushi is like that. We’re definitely not the exact same type, but that part that draws people in so well is convincing too, isn’t it?

 

 

ISSAY「Me, I’ve only got one artistic style」

 

ーー But some years ago, when B-T was about to debut, when X was about to debut, when LUNA SEA was about to debut, you thought nothing of them at all, didn’t you? It was something like vainglory [on your part].

I: Uhhuh.

ーー And even though Sakurai performed with a stance that said “Other bands don’t concern us!”, isn’t it exceptionally interesting that this state at this point in time is one where such people are the only tangent point between you both?

(Both burst out laughing).

S: We also spoke about this yesterday when we were drinking but…… I suppose there’s something I longed for after all. Not the wet kind (smiles).

ーー What’s that, this “wet longing” (smiles).

I: Issit a dry longing!? (smiles).

S: No, it’s not dry. I guess it’s wet after all (smiles).

I: Amazing. I ask him what’s a dry longing and next thing he tells me it’s a wet longing (smiles).

ーー Wahahahaha.

S: (Smiles) That…… flexibility, or something, ISSAY-san has it. So, the flexibility and stoic-ness that I feel are― qualities that I’ll never possess, and I’ve seen it in Der Zibet since the very beginning. Furthermore, the strength of that suppleness, that core, I suppose has never changed.

ーー So you’re saying that ISSAY hasn’t changed since 10 years ago.

I: I haven’t changed (smiles). Me, I’ve only got one artistic style! (smiles).

S: (Smiles) Your attitude, I suppose.

ーー On the other hand, what about Sakurai from ISSAY’s point of view?

I: You see, I think he’s cool. So, during this time’s live, I was watching Atsushi on the monitor until it was time for me to go on stage and― In that sense, Atsushi is far more flexible than I am too. And when he’s stoic, he’s tremendously stoic, and that’s the kind of thing that I really love, you know? And more than before, much much more, it’s this… there is this sense of scale now.

ーー Ah, he was still young back then, right?

I: No, it’s not that, because I’ve happened to watch BUCK-TICK’s live in London, in the past (smiles).

ーー During the recording of ‘TABOO’.

I: But for me, ever since B-T came out, I liked their 1st and 2nd [albums] so, yeah. And these two albums that followed― ‘darker than darkness’ and ‘Six/NiNe’, I really love them both, again, for different reasons. It’s definitely…… the way they’re evolving yet there’s a nature that doesn’t change? After all, I get the feeling that all of it steadily boils down to become one thing, and that attitude…… it holds a tremendous amount of good vibes too, I like it.

ーー The point is that― You’re only capable of doing this one same thing since back thenー.

I: Kukukuku.

S: Hey, that’s mean! (Smiles).

ーー And being all alone―, and obstinacy being the common denominator that connects you two together, I suppose.

I: Ahahaha. Ah, but these 3 points are huge, you know. These three points might be crucial.

S: A strong spring, that’s what it is (smiles).

I: Because when it comes to artists, I love those people who possess a ton of those, you see (smiles).

ーー But, y’know, I think that being able to do only one thing is a good thing, isn’t it? You can’t [do] rock if you don’t lack skill, right?

I: Yeah. And on the other hand, with Atsushi, no matter what form things come in, he’s able to do it because he has that one thing, doesn’t he? Because, even though I think that he’s only able to do things in that style, he possesses his own flavour. Der Zibet is also like that, but things like the musicality of the band and so on has now changed, hasn’t it?    But Atsushi has always done things with one single methodology in such areas, so no matter what music is being presented to him, no matter what style it becomes, I feel that he will be undaunted.

ーー Yes, exactly. Be it DZ or B-T, both bands do things their own way, as they like, and the unreasonable role burdened with the responsibility of “Write the lyrics, sing the song and make it sound like B-T, alright? Make it sound like DZ, alright?” is being delegated to you both (smiles).

S: Hahahaha.

I: Kukukukuku!

ーー But aren’t there a lot of songs that you don’t know what to do with when they get passed to you?

I: Yeah (smiles). That’s absolutely right, that happens (smiles).

ーー Because both HIKARU and Imai are pretty similar, aren’t they? They simply do whatever they feel like doing and then say, “I think this is cool so I’ll leave whatever comes after to you!” (smiles).

I: It will be left to me, so it’s just like that. You see, he’d just tell me to sing it my way (smiles).

S: That’s true. But once I’ve digested it, it’s like it’s already there.

ーー Even so, outrageous songs that you can’t put lyrics to will have their lyrics written by Imai and at the same time, he’d sing it too (smiles).

S: (Smiles) No no, because that’s simply what Imai wants to express―.

ーー But I believe you’ve only become attentive to such areas recently, right?

S: Mm…… In that sense, I suppose I’ve got a little room to breathe, recently. Something like having ISSAY-san join us…… Like the leeway [within the] band.

 

Sakurai「Successor? I’ve no idea at all」

 

ーー (Smiles) Well, even then, this decadent ballad tag-team has already happened for 3 previous songs, but when I listen to the CD, your voices are like two peas in a pod, I can’t tell the difference between the both of you.

I: That’s absolutely right. I’ve often been asked myself.

S: Right?

I: But our speaking voices are different, aren’t they?    DZ and BUCK-TICK sing on different keys so I guess when we’re on the same key, it sounds similar.

S: Hahahaha.

I: And a lady writer/reporter who came to watch the Budokan performance said, “Ah, so this is the separation between your two voices” like she understood it for the first time (smiles).

ーー If that’s the case, it might even be a good idea for the two of you to try coming together as a duo. The aniki version of Karyudo^^ or something like that (smiles).

I: Gyahahaha. Kukuku.

S: Hahahahaha.

ーー If you tried doing that, I think you’d feel something similar to that stubbornness and one-trick-pony lack of skill.

I: I do think that there’s a closeness for such a case of [vocal] separation and the stances with which each of us performs is different. But yet, in terms of our way of being as artists and the way things are encapsulated, I think that there’s a part of us that is close to aestheticism.

ーー What does Sakurai think about this?

S: …… P-Presumptuous (smiles).

ーー Do you conversely have a wish of “wanting to only change this part” or something like that?

S: No, not at all (immediate answer).

I: Hahaha. Oh, really?

S: Not at all (immediate answer)². Since way back I’ve aーlways been watching, but this person is just filled with the convincing “I should stay in such a place” kind of quality.

ーー I wonder, what will you do if either one of you changed in future?

I: Breakup? (smiles).

S: With one phone call (smiles). “Thank you for all these years”. Really, we can’t speak anymo一re (smiles).

I: (Smiles) That’s cold.

S: But for me, it was a turning point to be attracted to ISSAY-san’s aesthetic and go and watch his live― [He’s] a boy who has his own garden and plays in it. At that time, I didn’t have a garden in my home yet, but ISSAY-san had a place where he’s the only interesting aspect (smiles).

I: Uhahaha. Doesn’t that make me nothing more than a self-indulgent guy!

ーー Ain’t that simply the description of an unsociable guy.

I: You talkin’bout me? (smiles). But I can really understand what he’s trying to say. I think that’s something that I’ve aーlways desperately defended after all. That’s why I’m really happy that he was able to see that from me.

ーー I suppose that’s how the younger ones view the present Sakurai too. You two are of the self-revolving cul-de-sac style, and it’s a credo that only applies to the two of you.

S: Hahahaha. That’s right, that’s right.

I: But, you know, being able to ceremoniously do something like that in the overground scene was impossible before BUCK-TICK debuted, wasn’t it? That’s why, when I look at them, I think that they’re really cool, reliable. I think it’s really significant that they’re living with confidence.

S: The one who’s reassuring is this one [ISSAY]. It’s very much so whenever I’m doing something and I think, “Ah, there’s someone who continues to hold on to a style that’s similar to ISSAY-san’s”.

ーー Ain’t that just lovely. Has no successor shown up?

S: I’ve no idea at all (smiles).

ーー Argh, it’d be boring if this perishes after two generations.

I: I’d hate for [it to end in] two generations! (smiles). Have it go down to posterity.

S: Hahahahahaha.

 

 

 

 

Notes:

* BUCK-TICK song title translations come from This is NOT Greatest Site

** Here, he used the phrase お返しを込めて (okaeshi wo komete). I’ve never seen such a phrase myself, so I’d say that it’s not a standard phrase per se, but a mix of two.
お返し, in general, is used in contexts when you’re talking about returning something, like a book (think library) or a favour, or getting back at someone for something, i.e. revenge. You could say that it’s rather obvious that Sakurai’s phrase belongs to the former rather than the latter.
を込めて tends to be used with 愛 (love), 感謝 (gratitude) or 心 (heart) and varying grammar particles to result in phrases which are the equivalent of “with love”, “with thanks”, or “with all my heart”.
From his statement following this line of dialogue, it can be implied that he meant お返しを込めて with regards to his appreciation for being asked by Der Zibet /ISSAY to take part in their activities. Thus, in a way, this is sort of him “returning the favour”. Or so he says ¯\_(ツ)_/¯

*** I decided not to translate 兄貴 (aniki), which is basically a slang version of the more standard お兄さん (oniisan), or in English, big/elder brother. In gay circles, it is also used to address an older gay man who is masculine in spirit and appearance. Although do note that if he is masculine in both spirit and appearance, he can also be addressed as a “nee-san” (elder sister) depending on his words and actions.

^ Hisashi Eguchi is a manga artist who debuted in Shonen Jump in 1977 with Susume!! Pirates. Other works of his includes include Stop!! Hibari-kun!, and Charamono.

^^ Karyudo (狩人) was a singing duo consisting of brothers Takamichi Kato and Kunihiko Kato. They originally disbanded in 2006 to focus on solo activities but have since reformed in 2012.

 

 

 

 

Translation: Yoshiyuki
Scans: yasromance

 

Related articles:

[Sep 1995]  Ongaku to Hito: Drinking Diary/Afterparty Columns (Extract)

 

Sakurai Atsushi (B-T) + ISSAY (Der Zibet)
“Aesthetic” & “Aesthetic”

Ongaku to Hito
May 1994

Interview = Ichikawa Tetsushi
Photos = Kitajima Akira

 

In Chinese | In Russian

 

ISSAY, the aesthetician “who has no choice but to only go around in circles in a blind alley” from the “forefathers of the resurgence of Japan’s aesthetic-kei rock” Der Zibet who debuted in 1985. Sakurai Atsushi, the aesthetician “who is in complete self-denial, who loses himself anyway” from the “band who are the first from Japan’s aesthetic-kei rock to conquer the whole country” B-T who debuted in 1987. This is the first time that an interview is being held with both men together.

Imperceptibly, we have transitioned into a status quo where the movement of visual-kei, also known as maquillage-kei, aesthetic-kei, or Japanese decadence-kei, has become the prevailing trend in Japan’s rock scene. This can be analysed from a variety of perspectives but I believe the one thing that can be said for sure, is that the nucleus of this movement is the “great desire to escape”. Because they hate looking at reality, they search for a haven, “anywhere that isn’t here”, and they scrupulously hide their selves deep inside of them. It is in this peaceful Japan where those known as “hippies” are born in the hotbed of moratoriums. And without a doubt, the beacon for these people are Der Zibet and B-T. That said, let’s head into this esteemed interview of “emotional dependence”, something that appears to be rather befitting of these two.

 

 

 

ーー The realisation of this interview was an unfinished project of mine back when I was employed with a certain music magazine, so even as we’re doing this now, I’m somewhat embarrassed.

ISSAY (I): Hahahahaha.

ーー Shall we start with a few perfunctory questions?

I: Like about the history regarding the formation of B-T and Der Zibet?

Sakurai (S): Hahahahaha.

ーー Oh, please. I’ve already had enough of those topics.

I: Or our first encounters with music? (lol)

ーー (Ignores) So when did Sakurai come to know of Der Zibet?

S: Probably when I was about 19 or 20. When I first came over to Tokyo and lived together with a friend in a rented apartment, someone lent me a tape and I listened to it.

ーー Was it their 1st album “VIOLETTER BALL”?

S: Yeah. When I listened to it, I thought “it’s nice”. Then it just happened that when I was passing by Eggman in Shibuya…… I think “Der Zibet Live” was written outside. I began to wonder what they were like and I thought that it was a good chance to find out so it was there that I saw them for the first time……

ーー I believe that was when Der Zibet was at the peak of their decadence, right?

I: Yeah. Those around me kept telling me to cut it out (lol).

S: Come to think of it, ISSAY-san was singing with a mask in hand.

I: Really?…… That’s horrible! (lol)

ーー Wahahaha. Was that the kind of live it was?

I: I didn’t think that I was doing that much pantomiming already though, at that time.

ーー What kind of hairstyle did he have?

S: Same as now, I think. Yeah, like that.

I: Was it black? I think it might’ve been red though. Either red or green.

ーー (Lol) Isn’t this guy so out of place?

S: No…… I think he’s good looking though……

I: I’m so happy! (lol)

ーー Hahahaha. Did you listen to Der Zibet after that too?

S: After that…… I started out as an amateur band with B-T too…… And I think that was when I haven’t yet become the vocalist……

ーー Ah, the legendary Sakurai Atsushi drummer era.

I: Eh, you were a drummer!?

S: Yeah.

I: I had no idea at all (lol).

S: After that, we were going around on tour during our indies period when we were at Nagoya’s ELL and I watched Der Zibet’s video that was being played there, and again I thought that he looked so good. Then, as we were going home from our tour, among our few fans (lol) were some who liked Der Zibet too, and I received that VHS from them. So, then I kept on watching it.

I: Don’t keep watching it! (lol)

 Sakurai「I looked at ISSAY-san with feelings akin to that of a girl’s adoration for a boy」

 

ーー What about Der Zibet does Sakurai like? Don’t worry about it, please be frank.

S: Mm… It made me perform as a vocalist, and also ISSAY-san was good looking.

I: (Lol) Ohh, you.

S: It’s not only the singing, how do I put this…… When he’s performing on stage, there’s something extra there that leaves a very strong impression.

I: Ah, I guess I did that. Like sitting on the stepladder and singing, or carrying a huge clock.

ーー (Lol) Like entering the stage with a candle in hand?

I: It’s not a candle! A hand lantern. All four of us wore black coats and came on stage with hand lanterns.

ーー It was as avant-garde as it could be, wasn’t it?

I: Now that I think about it, I guess that was Japanese Gothic (lol).

S: Hahahahaha.

ーー Is he getting embarrassed, this man?

I: No no no (lol). Well, I’m not embarrassed about having done that before. But, y’know, when talking about it face-to-face…… Isn’t it the same kind of embarrassment you feel when someone brings out a photo from your high school days and says “We went on a picnic together back then, didn’t we”? It’s awkward.

ーー So, Sakurai-san, perhaps you felt that you shared certain commonalities with Der Zibet?

S: …… Hmm…… How should I say this, the feelings of a boy’s poetry was what I felt. Like the feelings of a girl who admires a boy who has his own world? Yes, I guess it could’ve been from the perspective of a girl. Or should I say that it’s something like a father complex.

ーー Come to think of it, as an expressionist, Sakurai-san has a complex where you lack a “perspective to call your own”, right?

S: Perhaps I still can’t express myself in words but I’ve yet to arrive at that point, so, with ISSAY-san in front of me, as someone who has already attained that……

ーー And so, you admire him with the heart of a maiden, and furthermore, you look at him as a father… You’re another troublesome one, aren’t you (lol).

S: (Lol) With feelings of envy.

ISSAY「London was where I watched B-T’s live for the first time」

 

ーーThe first time that ISSAY saw B-T was in 1988 in London, wasn’t it? When the both of you were in a foreign land for recording with Der Zibet for “GARDEN” and B-T for “TABOO”…

I: That was when I saw your live.

S: Ah, that’s right.

ーー I suppose younger readers might be unaware of this conversation topic.

I: But, y’know, the first time that we met was at Meguro’s Rokumeikan, when there was a public recording for a TV program… SION and Der Zibet and B-T were filming on the same day, and when I went into the dressing rooms, we became acquainted there.

S: (Shy smile) Oh, that’s right, I remember that.

ーー Oh, really? Was that during your debut days, for B-T?

S: Yes, right after we debuted.

ーー So, when you went into the dressing rooms, there were a group of boys with their hair up.

I: Yes, that’s right. They were really great kids (lol). Atsushi and Imai (Hisashi) were quiet but the two rhythm players (= Ani & U-ta) were very earnestly saying “We’re B-T”. So I said something like “Ah, hello” (lol)

ーー Sakurai said nothing?

I: He said, “I’ve watched your live once before”.

S: (Shy smile) Is that so?

ーー Ah, well, in those days, Sakurai was someone who wouldn’t talk at all… I think it was right before their debut, but when I had an interview with B-T, Sakurai & Hoshino (Hidehiko) were the super silent squadron, y’know? Maybe because their hair was standing (lol).

S: (Lol) Argh… We were useless fellows.

I: But the even more silent one was Imai (LOL).

ーー Anyway, about your witnessing of B-T’s live in London.

I: A message from Atsushi came into my answering machine, something like “I heard that you’re going to London for recording in the same period of time, so, if we can, let’s meet”.

ーー Sakurai, why, are you embarrassed?

S: No no no (lol).

ーー You’re blushing like a young girl (lol).

S: ………………… (lol).

I: Hahahaha. Then he said that B-T will be performing a live there, so I said “Let’s go let’s go” and I went to watch them with the other band members.

ーー You probably couldn’t say this till now, but performing a live in London was tough, wasn’t it?

S: It sure was tough. But, well, it’s like we did it with a roar then left though. I figured that I couldn’t do it if I was sober I don’t have any recollection of it though (lol).

ーー So, before the performance started you drank up like hell (lol).

S: Yeah.

ーー How reckless (lol). Were Der Zibet the only Japanese in the audience?

S: There were a few others who looked like exchange students.

ーー Isn’t it more embarrassing when there are Japanese around?

S: That’s true. But they were right in front (lol).

I: Yes yes, y’know, I thought that they might’ve especially come all the way from Japan for this. I thought, “B-T is so amazing” (lol).

ーー What were your thoughts about the live performance itself?

I: They sure gave their all (lol). They were really fired up. The ending, I think, that was terrific. It went like, ‘gyadooon gyadooon!’. Like, “Ohhh, they’re doing it” (lol).

S: Pretty much like an athlete, that (lol).

I: “Listen up, you lot! You bastard!” Something like that.

S: We might’ve been thought of as horrible people (lol).

I: No, not at all, I didn’t get any bad vibes. You were interacting with a smile too, and you even did an MC and stuff.

ーー MC!!!

I: Speaking in English became bothersome halfway, so he ended up speaking in Japanese though (lol).

ーー Whaaaat (lol). There’s no way a guy who barely even speaks for an MC in Japan can do that over there, right.

I: Hahahahahaha.

S: Right? That was impossible.

ーー But this is a nostalgic topic, isn’t it?

I: But I remember the events of those days quite clearly.

S: I remember them too. I was so happy when you came into the dressing room too.

ーー Now that I think about it, that was the one and only time that both B-T and Der Zibet recorded overseas, right.

I: Because for us, when we go over there, we end up creating dark works, don’t we (lol). But you see, “GARDEN” was criticised for being too dark, yet when we listened to it in London, it sounded normal. You wouldn’t have thought that it was dark at all.

S: That’s true, isn’t it? It didn’t seem like our “TABOO” met Ichikawa-san’s expectations either though (lol).

ーー But when I went to London, as soon as I arrived it felt ominous though? You really have to know yourself very well as an artist.

I: It fit well with my predisposition, didn’t it? For sure. I enjoyed myself, being in London. Was it not that way for you?

S: Ah, mentally it indeed was really comfortable.

ISSAY「Shall we have a takoyaki party next time?」
Sakurai「Yes yes」

 

ーー But Sakurai’s been to Hawaii for vacation before though (lol).

S: It was far more arduous there (lol). There was something like a ridiculous, compulsive idea that it would be a waste if I didn’t go out…… (lol).

I: Ah, I know I know! (Lol). So, you went out?

S: I went out.

I: Swam in the sea?

S: I did (lol).

I: Ain’t that nice~, you went swimming in the sea~ (lol).

S: Hahahaha.

I: Next time, let’s go, it’ll be fun. Let’s go let’s go (lol). Y’know, last summer was also my first time going to the beach in 15 years (lol).

S: What kind of fun are you talking about (lol).

ーー Swimming in the sea in with a decadent stature (lol).

I: After that, we met when our paths crossed a number of times. I think I was going returning from a tour stop in Nagoya, but anyway, we were pumping gas at a highway rest stop, you see (lol) when a bunch of guys with long hair came towards us. Just as I thought, “Huh? I think I’ve seen them before”, the bassist said, “We’re B-T!” (lol). Then, Atsushi came up from behind with this suuuper embarrassed look on his face (lol).

ーー Wahahahaha.

I: I was like, “It’s Atsushii~!” (lol). There was also that time at Peter Murphy’s concert, and we also met outside Nakano Sunplaza, didn’t we?

S: You remember it all so well, don’t you?

ーー Probably because there were so few incidents since you live withered lives like retired old men (lol).

I: That’s true (lol). There aren’t many things that move my heart, y’know. But, you see, when I meet Atsushi, I lose my composure for a moment, like “It’s Atsushiiii~~~~~”.

S: Hahahahahahaha.

I: Atsushi is a homebody too, right?

S: Though it’s nice to head out of Tokyo, isn’t it, just getting into the car and speeding away. But until I actually get out, it’s exhausting.

ーー This guy, he probably basks in bliss when he goes into his own room (lol), despite that he may simply be idling around.

S: But, you see, there aren’t any outsiders (lol).

I: It’s tiring, isn’t it? Heading out.

S: Yeah, it’s tiring. I wonder why.

I: Because there are other people other than yourself (lol).

ーー Wahahahahahaha.

S: Hahahaha. A hundred percent, full marks (lol).

I: Thank you (lol).

S: Even though I’m at this age, I still get shy or scared. For example, I want to go to Tokyu Hands but I can’t, and so on (lol).

I: I can’t go either (lol).

ーー What would Sakurai go to Hands for?

S: A light bulb burnt out so I headed there to get one. It’s a special one, you see. In the end, someone else went and bought it for me (lol).

I: Right? Right? It’s the same for me.

ーー These guys are useless (lol).

I: You know, there was also the time when I wanted a takoyaki set so much that I asked my manager to go buy it for me.

S: Ah, I bought one too. It’s the Tokyu Hands one, right? (lol).

I: Ah, really? Shall we have a takoyaki party next time, just the two of us (lol).

S: Let’s, let’s (lol).

I: A dark, decadent takoyaki party (lol).

ーー While listening to Sisters of Mercy.

S: Hahahahahaha.

ーー I’ll join in too. So, the song “Masquerade”, that the both of you sang together on in Der Zibet’s “Shishunki II (思春期II)”, it’s turned out to be a “decadence master-disciple duet”.

I: Wasn’t Ichikawa the one who planned it (lol). But it was so much fun, wasn’t it, that (lol). I think the finished product was interesting too.

ーー To think that both of your voice qualities would sound that similar.

I: Right (lol)? But y’know, even for myself, there are a number of areas where I can’t tell whether it’s me singing or Atsushi singing.

S: We’ve been told that a lot, haven’t we?

I: It was surprising, wasn’t it? But, y’know, when you listen to how Atsushi usually sings, it’s different, isn’t it? That’s probably the result of us happening to be absorbed with the same parts of the artistic style, right?

ISSAY「Y’know, in the past, we were branded as pop-rock」
Sakurai「That was the case for us too (lol)」

 

ーー By the way, I’ve been wondering, what does ISSAY think of what B-T does?

I: I haven’t listened to all of everything they have so I don’t quite know, but I think it’s interesting. Isn’t it odd? There isn’t anyone else who has gone major making such music, is there? And that’s why I’m very happy about it, furthermore, it’s rather well received. I think that it’s a really wonderful thing. Y’know, ever since came into the scene, I’ve always been thinking to myself, “So this made it to a major label, huh. How different” (lol). Despite that they do quite a lot of crude things, y’know.

ーー I think Victor’s different too, for some unknown reason, they’ve got so many weird sounding “amateurs” who don’t know the basics with instruments. If it was any other recording company, they would’ve been struck off.

I: That is indeed unusual.

S: I think so too (lol).

ーー For me, very frankly speaking, until now, I still can’t help but think that it’s weird that for some strange reason, B-T sells well.

S: Fufufufu.

I: Well, for me, I kind of understand. I think that the way that their melodies are easy to catch is a strong point after all. I don’t think that there’s any need to persistently stick to that, but I guess it’s probably got something to do with how large the acceptability factor of their music is. Their lyrics are really sordid, and they had their hair in this style, but I think their melodies were very lively, weren’t they? That really struck me hard, y’know, when they started out.

ーー So, if Der Zibet too debuted 4 years later than when you did, you might’ve been sellable too.

I: Hahahaha. Well, maybe, I guess, don’t you think so? (Lol).

ーー But, you know, I think that B-T contributed greatly to this movement of this “weird sounding” aesthetic-kei or visual-kei or British-kei becoming widely accepted in Japan. Especially when you consider how aesthetic-kei is prospering right now.

I: I do think so too. He’s different, this Atsushi.

S: (Lol) No no, if not for ISSAY-san I wouldn’t be here.

ーー You guys, you’re unearthly. But it feels like there are fewer and fewer loveable “aesthetic fools” around.

S: Because fashion comes first.

ーー Yeah. That’s despite that stylers are popping up one after another, be it among amateurs or indies or major labels.

I: Hahahahaha. Styler (lol).

S: (Lol) What’s that, those ‘stylers’?

ーー Hm? It’s a term that refers to people with style.

S: Hahahaha. What an amazing expression.

ーー I think the underground aesthetics scene centred at Shinjuku back in the mid-80s had some really fine fools, didn’t it?

I: It had that, it did. I wonder how’s Genet.

ーー (Lol) There weren’t any bands who thought “We will sell!” just by spending on production and advertising when going major.

I: You’re right. But that’s because they had power.

ーー But that underground power, even though it’s a good quality to have, isn’t there a depressing history of bands getting criticised just because their values are different from the priorities of major labels?

I: But, y’know, this world, isn’t that how it’s just turned out to be?

ーー Then again, Der Zibet’s existence is an anomaly in all of that… Because even as ISSAY’s “aesthetic that simply goes round and round in a blind alley” stands out, you take your music rather seriously too.

I: Even that is unusual though, isn’t it (lol). But y’know, in those days, we were beaten on quite a lot. During the days of our first album, we were being labelled as pop-rock. If your music is even a little bit melodious, you’d be immediately have that plastered on you.

S: That was the case for us too (lol).

ーー But there aren’t any fools around now. Doesn’t that feel like such a pity? Because rock is something that is being sustained by fools, after all, you know? Like with improvements in expressions and performances and all.

I: But, well……

ーー It’s a case of “as long as I can survive”, right?

I: That’s what it is (lol).

S: Hahahahahaha.

ーー Lastly, there’s something I want to ask. ISSAY’s solo album production project is supposedly progressing in secret but is Sakurai Atsushi in any way duty-bound to take part in it?

I: Hahahahaha. Will you do it for me?

S: If you’ll have me!

 

 

 

 

 

 

Translation: Yoshiyuki

 

[Live Report] The Day In Question 2020

Ongaku to Hito
31 December 2020

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

 

 

BUCK-TICK’s annual December 29 live show at Nippon Budokan.
This day’s promise is the light of hope

【LIVE REPORT】
BUCK-TICK〈ABRACADABRA THE DAY IN QUESTION 2020〉
2020.12.29 at Nippon Budokan

 

 

 

Making a promise.
That is to believe in that promise, and fulfill it. That is what gives us the light of hope.

For BUCK-TICK, this is the 21st time they’re playing a show on December 29. The venue for last year’s show had been moved to Yoyogi National Stadium First Gymnasium because of refurbishment, but ever since 2000, they have always held a show at Nippon Budokan on this very date. Under normal circumstances, they would have traveled around the country, going on tour for their latest album ABRACADABRA which was released in September, and would likely make this annual show the final date of that tour.

However, because of the spread of COVID-19 infections, they turned that into a film concert and called the tour “TOUR2020 ABRACADABRA ON SCREEN”. The announcement that they would be holding this particular December 29 show only came out one month prior too. It was apparent that they had been negotiating and planning for measures to the very last minute, and eventually, it was decided that the event was to be held with an audience after reducing the seating to half the usual capacity and including various preventive measures.

Looking at the seating arrangement in the arena and the stands, seating had been considerably reduced and it was clear that they had put social distancing into consideration. Also, they would normally have many close friends and acquaintances in attendance on this day, but there were no guests invited at all. I could feel that they wanted to increase the fans’ chances as much as possible to give them an opportunity to watch the show.

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.

Release an album, tour a lot, feel the fans’ reactions, and build up the worldview while heading towards the final show; that’s the band’s usual style but now, live shows can’t even be held in their usual formats. Majority of them are one-night-only, special shows in light of the COVID-19 crisis. It felt to me that this show was an attempt by them to go back to normal life where tours are a regular occurrence.

Ironically, the show’s title was the incantation of ABRACADABRA. In the unrest caused by COVID-19, they’re holding a concert with the audience at less than half capacity but even that is in danger of becoming an impossible situation in these circumstances. Is it okay to hold a concert? Is it alright to go and watch the show? While this conflict goes on somewhere in both the performers and the audience’s hearts, that show title and the way they handled the show had the power to dispel that unease. In this situation where the audience are not allowed to raise their voices, the endless applause from the audience between songs were a manifestation of their feelings.

Also, upon performing ABRACADABRA before an audience, the true essence of this album became apparent. Without any strict theme, a sound unbound by anything rang free. The “deviant vibe” which Imai expressed was a daring digression from sort of format which aimed for something alternative. But no matter how avant garde it gets, Sakurai’s vocals and his worldview inevitably bring in a touch of humanity. His awareness for not only the in-person audience but also those invisible ones beyond the cameras only enhances his expressiveness.

That is why Eureka, the one song on the album which Imai wrote to relieve himself of the frustration with this COVID-19 crisis had an overwhelming destructive power on this day. Everyone’s desire to repaint this dark, depressing atmosphere with hope became one. The audience swayed with “PEACE!” signs. I am sure that this sight must have been one that he had been visualising and longing for since the recording of this song. Smiles were everywhere. This band understands well that nothing comes of anger or hatred or despair alone.

And the last song of their main set, Boukyaku. It is never peaceful, because there will always be this sort of ineradicable feeling somewhere in us. That is also something that exists, for sure. The fact that they sing about this makes their music real. Nothing in this word is perfect; everything has its own cracks and distortions. And it is from there that light shines through. That’s why we love and cherish them.

A number of songs in the encore had been changed in comparison to “ABRACADABRA ON SCREEN”. Most of them were songs which appear to spread hope and shine a light on the future. Between those songs, Sakurai said this:

“The next song is about how you’ll be able to cherish the people you love when you cherish yourself.  I would like to dedicate it to the medical professionals.”

Those words included a message addressing the delicate situation surrounding infection cases. However, at the same time, there is also a sense of realisation coming from him, who had been in denial of hurting himself, of all people. And the song which they performed was LOVE ME. Last year, there was the joy of being able to perform as a band and the feeling of being loved in performing this song. While this year, they’re singing about how everything, including in this global situation we’re in, can only be solved by how we think about things in the end.

“And now, let’s go! Into the future!”

Right after Sakurai’s signal, we were led into their last song for the night, New World. We will cut through this infinite darkness. The light that can be seen ahead is hope. Embracing it, we will live on.

After the members have left the stage, they announced on the screens that there will be a national tour in autumn of 2021, and that on December 29, on this same date, there will be a show at Nippon Budokan. In all honesty, we have no idea what the virus situation will be like, how the audience capacities will be set, whether we can hear the cheers of the crowds, or whether things will be good enough for a live show to be held in teh first place. There is no doubt that it is all still an unknown. However, this promise gives us hope, and allows us look forward in life. And most importantly, it becomes a promise that has been and will continue to be kept between them and us over 20 years.
This show was one that was filled with such hope and love. And everyone of us is hoping very much that we will be able to meet here again next year, in 2021.

Thank you for tonight
It was an unforgettable night
May the new year bring
much happiness to everyone
I hope you have a Happy New Year With love
BUCK-TICK

 

 

【SET LIST】
SE
01 月の砂漠 (Tsuki no Sabaku)
02 ケセラセラ エレジー (Que Sera Sera Elegy)
03 獣たちの夜 YOW-ROW ver (Kemonotachi no Yoru)
04 SOPHIA DREAM
05 URAHARA-JUKU
06 凍える (Kogoeru)
07 舞夢マイム(Maimu Mime)
08 Villain
09 堕天使 YOW-ROW ver. (Datenshi)
10 ダンス天国 (Dance Tengoku)
11 MOONLIGHT ESCAPE
12 ユリイカ (Eureka)
13 忘却 (Boukyaku)

ENCORE
01 FUTURE SONG – 未来が通る – (FUTURE SONG – Mirai ga Tooru –)
02 Luna Park
03 世界は闇で満ちている (Sekai wa Yami de Michiteiru)
04 ROMANCE
05 LOVE ME

ENCORE 2
01 Alice in Wonder Underground
02 LOVE PARADE
03 New World

 

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito

JAPAN Tribute Extravaganza!!

Ongaku to Hito
October 1996

Interview & Photos ー Ichikawa Tetsushi

 

 

Fujii Maki + RYUICHI (LUNA SEA),
Ishida Shokichi (Scudelia Electro), kyo,
Morioka Ken + ISSAY(DER ZIBET)
SUGIZO (LUNA SEA),
Tsuchiya Masami and KEN

 

I don’t think it quite matters what kind of a band JAPAN was at this point――
Huh, is the producer allowed to say such an irresponsible thing?   This beautiful “bullied” British band is the epitome of the “righteousness” of individualism and escapism which they expressed, but even if they don’t entirely agree with that, there are many active Japanese musicians who follow the band and just about everyone has listened to their music. Such is their “large” presence. 

A “tribute album”, in the first place, is supposed to be a compilation of covers done by musicians paying homage to their great predecessors but what I aimed for was actually something else. This “closed” Japanese music scene where the boundaries between record companies and bands are too strong is so boring that I wanted to create a place where musicians could present their work more freely as they pleased, and this is what I really wanted to do through JAPAN.

And so, a number of unusual combinations like “RYUICHI + Fujii Maki”, and “KEN + Tamura Naomi”, and “ISSAY + Morioka Ken” were formed and fresh “by-products” like a first solo work, or a first involvement as vocals were brought to life one after another. That’s right, if everyone has fun working together, we’ll be able to realise interesting things, won’t we? There were a lot of “big names” who were, unfortunately, unable to participate due to scheduling conflicts, so with that in mind, we’ve done this big special feature called, “The Great Rock Game.” Read it, listen to it, buy it (smiles).

 

Album info:
LIFE IN TOKYO – a tribute to JAPAN
(Releasing 4 September 1996 / BMG Victor)

 

 

 

ISSAY + Morioka Ken
The “Older Brother” and “Younger Brother”

 

―― Alright then, the first performance by the “Sworn Brothers of Decadence Tag Team” in 12 years――

Morioka (M): ISSAY-san changed, hasn’t he? He’s turned somewhat more masculine, it’s a nice touch. Lately, I’ve just been struggling and crying every night.

ISSAY (I): You just have to laugh that sort of thing off, you know? If you can’t laugh at your own unmanly self――  That’s how I protect myself in that area. Don’t you know? I’m a sissy man! (Wry smile)

M: Ohh, there it is (smiles).

I: And after that, it’s all about how you turn it into an art form (smiles).

―― You guys, you’ve got a weird relationship.

I: We’re bosom friends ♡.

―― …… Now that I think of it, this is the first official interview for Moriken¹ after Soft Ballet’s disbandment, isn’t it? I’m sorry this is the project that the interview is for.

M: No, don’t be (smiles). Anyway, I thought of wanting to say something classy like, “My goal is to win a Grammy,” or something like that.

I: Where’s the class in that statement (smiles).

M: … Sorry.

―― Don’t you apologise either (smiles). What were the two of you like back then?

M: Back when I first met him, I thought ISSAY-san was scary.

I: I was always freaking out, wasn’t I?

M: But I’ve recently come to understand that state of mind very well.

―― Oh, come on. How old were you?

I: Probably 16? It was around the time when you just went from being a freshman in high school to a sophomore, right? I’m 5 years older than you so I guess I was about 21.

M: But I had so much fun when I performed with ISSAY-san’s band, and in some part that was an eye-opener for me too.

―― What did it open your eyes to?

M: After that, I started writing music, so I’m really grateful for it.

I: I was just making up music a lot as I went along (smiles).

M: You were really helpful to me.

I: Ah, I’m glad~, I’m happy that I’m alive~ (smiles).

―― What kind of teenager were you back then?

M: I was studying at the piano department of the College of Music², but I was a gloomy teenager who loved JAPAN and Kraftwerk.

―― Introverted.

M: That’s right. So, I became extroverted in Soft Ballet, well, as a way to put myself out there in the world―― I became an outgoing man at our live shows.

―― You say “outgoing”, but I feel like you’re just a guy dancing weird (smiles).

M: (Smiles) I only became like this because while we were performing at live houses, my body remembered this as the way to capture the audience, that’s all.

―― So it’s just a means to an end.

M: Pretty much…… But, besides, letting myself go like that, isn’t it a sort of release too? Ah, will it turn into something negative for Soft Ballet if I say such things…… It’s okay, right?

―― You’re overly concerned (smiles).

I: He indeed was an introverted teenager, though. But I thought he was a kid with an amazing aesthetic sense.

―― By the way, what sort of music did you make in that band?

I: A mix of punk and glam and electro-pop done badly (bursts out laughing).

M: Uh, but when I heard it for the first time―― Well, I’m always conceited (lol), so I thought, “Ah, if I work hard, I’d be able to play all sorts [of music] too,” and then I kept working hard at home making tapes and so on.

―― You were a pure and earnest teenager.

I: He was very earnest. When I told him we were going to perform live, you know, he suddenly showed up with bright red hair. I was like, “Hey, wait a minute, is your high school okay with that?” (smiles). That was the moment when I first realised that this guy was actually very extreme (smiles).

―― (Smiles) So, an introverted kid who does crazy things once he makes his mind up about it, or a bullied kid swinging both his arms in tears as a self-destructive final attack.

M: Yes, yes, exactly!

I: Hahahahaha!

M: I think fans of rock music are basically like that, or me, at least (smiles). You know, I was super popular [in school] in the beginning (wry smile). I was often top of the class be it in grades or piano, but people eventually got tired of me and I ended up getting bullied. They started to make fun of me. And that’s despite the fact that it was all girls in school. It was like this in junior high too…… I was bullied. If I coiffed my hair neatly, they’d keep tousling it up and all that (wry smile). Even though I’d say, “Stop it―!”

―― And that’s when listening to JAPAN’s Quiet Life³ saved you.

M: Yeah, that it did.

―― Well, then how did this time’s tag team come about?

I: When I heard about [this project] I immediately said, “I want to play with Ken-chan.”

M: Waa♡!

―― And the song you did was my choice; Fall In Love With Me. The ultimate song of self-pity! Perfect for you two!

I: I was set up (smiles).

M: When I read the lyrics, I found myself muttering, “Whaat?” I was wondering whether this song was selected because of its lyrics (bursts out laughing dryly).

―― The song itself was well-received. It was being praised with phrases like, “the 80s strikes back,” and “electro-goth,” and so on.

I: Yaay (smiles).

M: Hahahahaha. Me, I’m afraid of what I’ve created so I haven’t actually listened to it, though.

―― ……

M: I, well, after [Soft Ballet’s] disbandment, I’ve been at home with my child, and children start gaining a sort of awareness when they’re around 3, right? And what I’ve recently come to feel strongly, well, it’s a no-brainer, but when I realised, “be it animals or humans, we’re all connected,” I started to feel like something in me started to die at the same time―― Ah, sorry (wry smile).

I: (Smiles) It’s okay, it’s fine.

M: The sense that…… I have to get it out as soon as possible, it’s really very important. For example, if the sense of seeing a glass of beer as a mere “glass of beer” turns into the sense of seeing it as “a glass of liquid made from wheat”, your one-sided sensibility will die off. And that gives me a tremendous amount of fear.

―― With getting married and having children, the pressure of cultivating that primal instinctive bond and keeping up familial responsibilities is an attack on the “individual”. Perhaps it’s an unfathomable fear of that.

M: Ahh, perhaps that’s it.

I: Maybe that’s what it means.

―― If that’s the case, then the only thing left to do is to flee! The great escapism!!!!

I: For me, that’s how it’s always been.

―― The trinity of escapism, victimhood, and an impulse to express oneself, isn’t it?

M: Hahaha. Ahー I see.

―― It’s as if you’ve realised that you’re looking at a child and thinking, “How cute,” and immediately you start mourning, “Oh, shit! I’m turning into a regular person~~!” (wry smile). Then, you’d thrust yourself into a state of impatience and grind with the compulsion that “I have to perform to death!” in what little time you have left.

M: Yes, that’s exactly it. It was like this for me before I produced by solo work (← Questions) when I was still in Soft Ballet. I suppose it’s because I was just playing [with music] at home all the time when I suddenly thought, “Ahh, something’s dying. Ahh, this is bad. Ahh, I have to do something,” and plunged myself into writing all sorts of phrases. Before I knew it, I’ve written about 50 pages. Then, I thought, “Ah, that’s right. I have to go on my journey of enlightenment. I have to save the world and humanity through music.” So submitted those to the record company and said, “This is the kind of music I want to do for my solo.”

―― Wow (smiles). The director who read that must’ve been miserable too. Such an intense and powerful desire to run away.

M: Hahahahaha!

―― You do love JAPAN after all.

Both: Hahhahhahhahhahhah!

M: But it’s definitely still there. So I guess it’s because I don’t understand it myself, but I do think that it’s probably healthy to continue doing this until I eventually figure it out.

―― I definitely agree. Don’t worry about this or that; if you’ve got a growing desire to escape from things, then don’t hesitate and just go!   That’s all you can do!

I: I don’t call that “escapism”, I call it “a battle”.

M: Yeah, that’s a battle, isn’t it?

―― ISSAY is excellent. Because he’s been living his whoーle life with the singular notion of, “I want to run away.” (smiles).

M: Excellent (wry smile). But for me, when he let me listen to Kirigirisu⁴, I read the lyrics and thought, “Isn’t this kind of irresponsible?” (smiles).

I: (Smiles) But that’s because I’m a grasshopper⁵.

M: I did find myself thinking, “ISSAY-kun, what do I do to feel better!⁶” (lol).

 

 

 

 

Notes:

¹ Morioka Ken’s nickname.

² To be exact, it was the Toho College of Music-affiliated Toho Senior High School’s Piano Major program.

³ The third studio album by English new wave band Japan released on 20 December 1979.

⁴ Released on 23 March 1996, Kirigirisu (meaning grasshopper) is Der Zibet’s 12th studio album.

⁵ This is in reference to Aesop’s Fable of The Ant and the Grasshopper where the ant is supposed to represent a hardworking individual or someone who plans for the future versus the grasshopper which represents a lazy idler, or someone who doesn’t plan for the future. To note, ISSAY has described himself elsewhere as someone who doesn’t plan for the future lol. 

⁶ I’m actually kind of confused about this line since it only mentions ISSAY and has no other punctuation to help with distinguishing what the subject/direction is.
So here’s the original text for your own interpretation: “ISSAY君元気になってどうしてくれるのよ!”

 

 

 

Translation: Yoshiyuki