[Live Report] 魅世物小屋が暮れてから〜SHOW AFTER DARK〜

Pia
18 July 2021

Text = Okubo Yuka
Photos = Tanaka Seitaro, Watanabe Reina

 

 

This Depraved Dream World BUCK-TICK Invited Us Into

At 21:00 on July 17 was when BUCK-TICK began their streamed concert Misemono-goya ga Kurete Kara 〜SHOW AFTER DARK〜. This is its official report.

This show is BUCK-TICK’s first concert in 2021 and their second concert stream without an in-person audience. At last September’s ABRACADABRA LIVE ON THE NET, they performed the songs from their latest album ABRACADABRA according to the CD track order on the day of the album’s release. It was a straightforward livestream that delivered the band’s zeal but this time around, as the title suggests, a conceptual set that brought their audience into a salaciously beautiful world of mellifluous intoxication unfolded.

9 p.m. is usually the time we expect for a usual concert to end. In this day and age where we joke about “shady dealings” and the sort which comes alive after 8 p.m., there lies a tent that quietly puts on a light. It is time for BUCK-TICK’s streamed concert Misemono-goya ga Kurete Kara 〜SHOW AFTER DARK〜 to commence.

Enticed by an introduction that invokes a sense of guilty pleasure, we dive in deep, going through the curtains and continuing until a circular stage lit up by strings of electric lights appears before our eyes. Dressed in outfits oozing with personality, the band looked like a troupe belonging to this “Circus of Oddities”. Giving the audience no time to mentally prepare themselves, they immediately began their song. It was a familiar melody but with a completely different groove. This new sensation brings about the awareness that we have stepped into a whole other world.

Today’s show was split into two parts; the first being an acoustic set, and the second, the band set. In the first half, the acoustic set not only consisted of already existing acoustic songs, but also songs which have been specially given newly arranged acoustic versions just for this show.

Highlights among those are Uta which had transformed from garage rock to swing, and JUST ONE MORE KISS which had turned into a refreshing mid-tempo song. The simplicity of this ensemble elevated the songs, making them stand out even more and letting them convey each of their individual “fragrances” through the screen.

In addition, the cabaret box seats set up by the stage, the flames surrounding the stage, the lighting, the camerawork and all that were unlike what you would see in large productions on a big stage. All these minute staging details were what vividly reflected the storytelling of this particular stage.

The band set in the second part was their conventional concert setup, but even here, they’ve added songs with new arrangements that continue to surprise. They’ve said from the very beginning that the setlist for this show was specially selected to match the atmosphere of this stage which looks like a “Circus of Oddities”. And it feels especially so in this second half with a setlist steeped deeply in a world of depravity and fantasy.

In our daily lives where all kinds of exhausting news keep flying at us, this moment alone allows us to forget that reality. It’s like they’re granting us a dazzling, or perhaps a soothing dream to dream. I believe that this is precisely the true value of entertainment.

Their persistence with the concept of putting on a performance of mesmerising songs without speaking even once so as to not dispel this dream for the audience truly left an impression. Yet in spite of this, the message that the band wanted to convey through all of this was clearly told through the show.

Throughout both the first and second parts, Sakurai Atsushi (vocals) crossed his index and middle fingers time and again, displaying the hand sign for “Good Luck”. For those who will be enjoying the archive, do certainly pay attention and look out for this.

It had been showtime that will make us want to keep coming back for more even after the curtains have been drawn. The archive period for this stream will end on Friday, 23 July at 23:59. There is no doubt that you will most certainly get to meet a whole new BUCK-TICK in this show.

Yesterday, after the stream concluded, BUCK-TICK announced that they will be releasing a new single titled Go-Go B-T TRAIN on Wednesday, 22 September. They also announced that they will be going on a national tour starting Monday, 3 October along with the tour schedule.

I suppose the audience who have been immersed in the afterglow of this “Circus of Oddities” must have also been talking about the title of the single which appears to hold the destructive power to break down the image of BUCK-TICK that we’ve held thus far. Next year, in 2022, BUCK-TICK will be celebrating the 35th anniversary of their career since their major debut and yet they are still on the attack. It is truly admirable. Let our hearts swell with the anticipation of looking forward to what kind of new world will be the next one that BUCK-TICK shows us.

 

 

 

 

 

 

Translation: Yoshiyuki
Source: Pia

[Live Report] The Day In Question 2020

Pia
31 December 2020

Text = Okubo Yuka
Photos = Seitaro Tanaka

 

 

The parade of hope starts again with BUCK-TICK at Nippon Budokan
“Let’s go! Into the future”

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

 

 

 

BUCK-TICK conducted their annual December 29 performance at Nippon Budokan, Tokyo. Because they shifted venues to Yoyogi National Stadium First Gymnasium in 2019 in light of renovation works, this was their first performance in Nippon Budokan in 2 years. This is also the 21st time in a row that they have performed on this particular date. Nippon Budokan is most certainly the most fitting venue for this “annual” event to keep going.

This show was entitled “ABRACADABRA THE DAY IN QUESTION 2020”; a sign that this was to be a one-night-only special event where fans can enjoy both the world view of ABRACADABRA, their latest album which was released in September, and the special feeling that the annual year-end THE DAY IN QUESTION brings.

“Let’s go! Into the future. Let’s go!” Sakurai Atsushi’s (vocals) powerful declarations came after he sang the second song of the second encore, LOVE PARADE which was reminiscent of the closing of a show, and right before their last number, New World.

After BUCK-TICK released their album, ABRACADABRA, they were supposed to go on a national tour, but after taking the COVID-19 crisis into consideration, they held the film concert tour “TOUR2020 ABRACADABRA ON SCREEN” and added more dates to their original tour schedule. This tour was an experiment like no other. Although it is a film concert, the same sound systems and lighting as an actual live show were used to create a sense of realism for the audience. That along with the spirited performance by the band and an audience who kept up the applause as if it was an actual concert fulfilled the holy trinity that makes a live show, but despite it all, there was, inevitably, a loneliness that couldn’t be dispelled.

Following in the footsteps of “ABRACADABRA ON SCREEN”, this Nippon Budokan performance was to be the last in-audience show of the year 2020 with thorough COVID-19 prevention measures taken including the introduction of a face recognition system for entry, temperature checks, disinfection, and limiting the audience to about 5,000 people; half of the usual capacity. The event was also streamed live on the internet, responding to the wishes of fans around the world who could not make it to the venue.

This performance is the culmination of the band’s activities with the album, ABRACADABRA in 2020 which kicked off with their online no-audience live broadcast performance “ABRACADABRA ON THE NET”. I had thought that this show is the one that would be where the parade ends, but that thought was kicked to the curb by Sakurai’s earlier words. The band was welcoming everyone to this Budokan show, saying, “The parade goes on. Come, let’s go!” And at the same time, they pointed to the future which lay just beyond our outstretched hands. After the performance ended, the band announced a national tour for  fall of 2021 plus the next December 29 show at Nippon Budokan. In a world that has yet to see light, they have once again brought us shining hope.

Peace signs held up, voiceless excitement turning to conveyed zeal

A little past the scheduled start time, a clip of the world of ABRACADABRA’s album jacket played, with a blue butterfly fluttering above crystals and diamonds, on the screen in front of the stage to a new arrangement of the SE, THEME OF B-T. When the tour title turned to dust and scattered away, Tsuki no Sabaku began. Visuals of a desert unfolded in front of the band, linking their performance with the oriental music. The clear tones which rang out with Sakurai’s occasional ringing of the tingsha bells felt as if they cleansed the air of the venue.

When the screen fell away to reveal the band members during the intro of the next song, Que Sera Sera Elegy, I could feel the excitement in the hall rise two to three times higher. The band truly was standing before our eyes. The voiceless excitement turned into an zeal which we managed to communicate to the band. Kemonotachi no Yoru YOW-ROW ver. was truly thrilling with an edgy, cutting beat and the union of Sakurai’s singing with Imai Hisashi’s (guitar) playing. And on the imposing beat set by Higuchi Yutaka (bass) and Yagami Toll (drums) in SOPHIA DREAM rode Sakurai and Imai’s free-floating twin vocals, leading the audience into a psychedelic world.

As if acting out the worlds of each song, the singing Sakurai’s performances were brilliant. The sight of him lying down on the floor lit in red during URAHARA-JUKU was breathtakingly beautiful, while the way he folded his arms, as if cradling a child while he swayed to the chilling intro plucked by Hoshino Hidehiko (guitar) was filled with compassion. Right after applying red lipstick himself, he began to sing Maimu Mime, dividing his performance between the man and woman characters with facial expressions and deliberate hand gestures in the backdrop of a drinking district scattered with titles of BUCK-TICK’s old songs on the signboards.

During the techno number, Villain performed with the twin vocals of Sakurai and Imai, the audience’s clapping became part of the rhythm, creating a sense of unity. The four-on-the-floor dance tune Datenshi YOW-ROW ver. evolved into an even more solid performance and turned Budokan into a dance hall, pumping up the intensity with Dance Tengoku which followed.

Imai’s solo performance of gentle harmonies led into MOONLIGHT ESCAPE. Sakurai’s unconstrained vocals sounded almost like a prayer. Then, they continued into the lively 8-beat song, Eureka. The audience held up peace signs together with Imai and Hoshino whenever they did it. This was the one scene that I wanted to see the most on the ABRACADABRA album tour. Sakurai walked from the right side of the stage to the left, watching this scene before him. And to culminate it all, Boukyaku. This ensemble of equal parts painful sorrow and kindly warmth along with the emotionally charged singing permeated deeply into my heart. Leaving these emotions lingering deep in the audience, the main set came to an end.

The most impressive thing in this show’s live re-enactment of a setlist which was pretty much the same as that of “ABRACADABRA ON SCREEN” was loud, thunderous round of endless applause which started up everytime a song ended. This was the audience conveying their feelings to the band in this situation where voices could not be used.

The reason why there were uncharacteristically long breaks between songs must be because the band members wanted to take in those feelings with their whole being. This reciprocal interaction between the performers and the audience is something that we only feel more acutely after having experienced no-audience live shows. A live show is built up on the enthusiasm and passion from these two sides. I believe the audience’s zeal must have been well conveyed to the band. Whenever a song ended, Sakurai would say, “Thank you.”

Sharing the desire to protect others, a space filled with kindness

After 15 minutes of intermission, the “THE DAY IN QUESTION” part of the show title begins. Welcomed by the impatiently-waiting applause that had started up 5 minutes before intermission ended, the band arrived on stage. It was at this moment that we found out that the words on the back of Yagami’s jacket said, “FUCK OFF!! COVID-19”.

During the future-illuminating FUTURE SONG-Mirai ga Tooru- and Luna Park, and even the mid-tempo Sekai wa Yami de Michiteiru sung against a starry sky, the band brought power and healing to the hearts that have become a little exhausted by the unstable situation. During ROMANCE, we were intoxicated by Sakurai’s dramatic performance from the start when he lit up the candles of a candelabra, to the end when he pierced his chest with his stick.

And before their next song, LOVE ME, this was what he said:
“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 this to the medical professionals.”

The sight of the members putting their utmost respect into the song and music along with the audience waving their arms from side to side as best they could for those who couldn’t make it to the brightly lit hall is seared into my memory. Come to think of it, during the typically bustling pre-show wait and even enroute from the nearest train station to Budokan, the attendees observed good manners; they were quiet. Everyone shared the notion of thinking for and protecting others. This was a space that was filled with such kindness.

The second encore started on a high note with Alice in Wonder Underground. Receiving the neverending applause after LOVE PARADE, Sakurai spoke words of gratitude for the staff who helped to make this show a success and to the fans, he also thanked them saying, “Thank you for all your applause today. Your hands must be sore, aren’t they?”

There was also a moment when he eased the atmosphere in the hall by mumbling to himself, “I guess it must be boring to hear me talk only about serious matters. Shall I tell a dirty joke……”

“May the next year be a good one. I wish you all happiness,” he said with a deep bow, as if in prayer. Afterwhich, he said, “And now, let’s go! Into the future. Let’s go!”, leading into the last number, New World. “Cut through this infinite darkness and head into the future.” The powerful message that is embedded in this song turned into a light of hope and rained down on the audience.

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

It is said that since ancient times, firecrackers (爆竹 / bakuchiku), which are read the same way as BUCK-TICK (バクチク / bakuchiku), were set off to dispel plagues and evil spirits while ushering in good luck. ABRACADABRA, which BUCK-TICK played with great pomp and splendor at the end of the year to close of 2020 is a spell to ward off the plague. Therefore, we can say that BUCK-TICK’s existence is as good as hope itself.

When they announced that they would be holding a tour in autumn of 2021 along with a Nippon Budokan performance at the end of the show, the audience broke into another huge round applause. BUCK-TICK’s parade has started off once again from here as we head into 2021. I can’t help but hope for a future where we can all shout “PEACE” together in high spirits.

 

 

 

 

Setlist
1. 月の砂漠 (Tsuki no Sabaku)
2. ケセラセラ エレジー (Que Sera Sera Elegy)
3. 獣たちの夜 YOW-ROW ver. (Kemonotachi no Yoru)
4. SOPHIA DREAM
5. URAHARA-JUKU
6. 凍える (Kogoeru)
7. 舞夢マイム (Maimu Mime)
8. Villain
9. 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
1. FUTURE SONG – 未来が通る – (FUTURE SONG -Mirai ga Tooru-)
2. Luna Park
3. 世界は闇で満ちている (Sekai wa Yami de Michiteiru)
4. ROMANCE
5. LOVE ME

1. Alice in Wonder Underground
2. LOVE PARADE
3. New World

 

 

 

Translation: Yoshiyuki
Source: Pia

【Interview】BUCK-TICK’s 22nd Album, ABRACADABRA

BARKS.jp
18 September 2020

Interview/text: Tae Omae

 

 

Acceptance and affirmation for everything in life, for everyone who wishes to live as they are

BUCK-TICK will be releasing their 22nd album ABRACADABRA on Monday, September 21; the 33rd anniversary of their career. Eureka, the vibrant rock and roll number which was released ahead of time is an anthem which repeatedly calls out “LOVE!” in celebration of life. That alone has more than powerful enough to open up a wind tunnel in these melancholy times, but the true magnificence of BUCK-TICK is found in the jet black parade of Boukyaku (忘却 / Oblivion) which closes off the world of this album. This is an all-encompassing affirmation and acceptance of every facet of life; not just the hopes and delights and thrills and joys, but also the nightmares and pain and sadness and remorse. So, how did they create this album, which seems like an amulet for all those who wish to live as they are to keep close to?   This we ask vocalist Sakurai Atsushi and guitarist Imai Hisashi.

 

 

■ “A slightly deviant vibe” or something edgy
■ I thought of aiming for the essence of something like that

 

―― Listening to ABRACADABRA, the album was beautiful and it felt like something I would use as an omamori¹ in dark and depressing times; like a safety net for the heart. When did you start work on this album? And how did it progress?

Imai Hisashi (I): Probably last Autumn?   I started writing music around spring, and that’s when it started, I suppose.

―― Was that around the time when COVID-19 brought about the mood of voluntary restraint?   Or earlier than that?

I: Earlier than that.

―― Did you already have a general concept or vision for the album at the time?

I: When I was composing, I personally had something in mind. Like, “a slightly deviant vibe“. For some reason I kept coming back to the thought of aiming for the essence of something that’s kind of edgy, or something along those lines. But even if that’s what I’m aiming for, it doesn’t mean that I want to force my way there no matter what. It’s fine to stray away from it a little too. Well, but it wasn’t all that much of a concept anyway.

―― I feel that for over 30 years, everyone in BUCK-TICK has always deviated from the norm in the sense that you’ve always created works that do not fit the mold. So were you thinking of something different this time too?

I: I’m pretty sure I did because otherwise, I wouldn’t get the feeling myself that “I want to try and put that into words”.

―― This vision of “something deviant”, how exactly was it reflected in your work?   Were there any aspects of songwriting that were considered out of the ordinary for you?

I: No, there was none of that in particular. Simply put, deviant refers to things like “no pandering”, and the like. Although, now I’m wondering whether I’ve mentioned that side of things before.

―― Do you mean that you won’t consider doing things that are derived from the consideration of what the general audience would like, and these sorts of ‘services’?

I: That’s right. Basically, as long as we think it’s good, we’d go ahead with it as it is. I feel that the initial spark came from those really small things and it eventually grew into my motivation.

『ABRACADABRA』【First Press Limited Edition】

―― This vision that Imai-san held from the very beginning, at what stage was it first shared with Sakurai-san?

Sakurai Atsushi (S): No, he didn’t at all.

I: I didn’t say anything.

S: …… I didn’t ask (smiles).

―― (Smiles). So, you were sort of just watching the music get written?

S: That’s right.

―― When did you start aligning your awareness with each other?

I: I think it’s better if we don’t have to say things to each other like, “Like this.” Once it’s said, the other party would get stuck there and even if he thought that something isn’t quite right with doing it “like this”, he wouldn’t tell me that. Though, well, he usually doesn’t really say anything to me anyway.

―― I see. Aside from the previously released singles², what was the first song that was written for the album?

I: The first ones were probably MOONLIGHT ESCAPE and Datenshi.

―― Those became singles in the end and for Datenshi, you have another version recorded, right?

I: That’s right.

Imai Hisashi

―― In the beginning [of the album], you start with the sound effects (SE) track PEACE, followed by Que Sera Sera Elegy, URAHARA-JUKU, and SOPHIA DREAM; a group of psychedelically textured songs with a strong electronic-feeling and a crisp audio impression comes one after another, but did those come about much later?

I: That’s right. After we made MOONLIGHT ESCAPE and Datenshi, those 3 are the songs that were composed right after I entered yet another creative period.

―― How did this album’s production and recording schedule get affected by COVID-19?

I: Recording was suspended. For about a month?

―― How did you feel during that period?

I: I guess, as you’d expect, you could say that things gradually grew dark. Because I was in such a bad mood, it was then when I wrote Eureka.

―― That’s the song which was released ahead of time, right? Was that unconditional strength and bright energy linked to your own desire to break past that stifling situation?

I: Yeah, I think so. Actually, I wrote a song with a much heavier guitar riff during that period, but I gradually grew sick of that gloomy feeling. And I thought, “It’s been a while since I wrote a song like Eureka. Maybe I should try that?”

―― Eureka’s lyrics even have the word ABRACADABRA, the album’s title. Did this word appear in Imai-san’s mind at the stage of this song’s creation?   Or did that come from Sakurai-san?

I: That’s right. It was from Sakurai-san that the word appeared in the lyrics.

―― Well, then, I’ll direct the question about how the word “ABRACADABRA” came about to Sakurai-san. But first, can you tell us how you felt about the situation where you had to suspend your work as a result of COVID-19?

S: For me, I had the lyrics of 1 or 2 songs to write so I was focused on that. Well, with the feeling that there’s no other option but to behave myself. While still not really understanding why…… It still applies even now, but without exaggerating it, [I had a sense of] “we should protect each other’s lives first”. Because no matter what, the studio was going to be sealed off anyway, and it’s [a place where it’s] difficult to get ventilation too. And after the state of emergency was announced, it’s like everyone stayed home to “protect themselves”.

―― How did you feel at the time?

S: I was a bit scared. Because there was this realisation slowly dawning on me that “this doesn’t only affect other people.” My mood was also definitely…… Well, then again, I’m always depressed³ to begin with (smiles).

I: (Smiles).

Sakurai Atsushi

―― (Smiles). So, it felt like [the situation] just made it worse?

S: Yes, I was depressed³ (smiles).

―― So, how did the word “ABRACADABRA” catch your eye in that situation?

S: When we had to stop recording, I was left with the lyrics to Eureka to write, and I had a lot of time to do that, about a month, so that’s what I did in that period of time. Right at the start, Imai-san had decided that the chorus was to be in English, so I had to think about whether there was any way to ride on that well while still making it “me”. I went to read various books and widened my horizons, and watched movies and all that too. While doing all that, when I opened up the web for some reason to have a look, it felt as if [the word] just came towards me.

―― Huh!   So, you just grabbed it like, “This is the one!” and reeled in it?

S: That’s right. So, while I was doing that legwork, I meant to increase the reach of my antenna to capture a wider variety of things, so that was how the word approached me.

―― For Imai-san’s part of the lyrics where you shout “LOVE!” over and over, did it reflect your mood at the time just like the music?

I: Yes, that’s right. It naturally turned out like that when I composed it so I thought it’d be fine to just leave the chorus as it is.

―― It’s very strong, isn’t it? This loving ode to life. I was overwhelmed by the inexplicable energy. Was it in part to fire yourself up?

I: When I was composing it, I did find myself thinking that this was what I wanted right now. It really just flowed naturally. After all, I did get the sense that I was feeling low. There was also anger over the suspension of recording, but honestly, I also felt reluctant about going to the studio. I didn’t really want to go.

―― There’s also the worry that you’d get infected and all of that, right?

I: Yeah. All those various things built on each other and it was with that drift that this song came about.

―― Aside from the pause in production affecting this album in reality, I wanted to ask how much of it was also influenced by the climate of these present times, but can I assume that it is quite strongly reflected in this album?

I: I think there more or less has an influence, as per usual. Because all these things are happening here and in reality.

―― What about Sakurai-san?   How much does the mood or climate of these times influence your lyrics, or perhaps, your singing?

S: I guess you could say that from the time I started working on the single last year, I didn’t want to let COVID-19 get in the way of our work until recording got suspended. So, I’d at least be careful in real life, but the album is, after all, something that I work on in my room and my own time and in my own head, and because I didn’t want something so incomprehensible to interrupt me to that extent, I purely wrote what I wanted to write. It’s a bit different for Eureka, though.

―― So, rather than writing about the goings-on in society, you dug into what was within you to try and write at your usual pace?

S: Much of it used to come from the imaginings in my head in the past, but in comparison to that, this time, [what I wrote] before COVID-19, say for example, MOONLIGHT ESCAPE  was about child abuse, and so on. With regards to those topics, I would write about a way out, or say something like, “It’s okay to run away.” Then, in Villain, it’s about the darkness of humanity. Like those who are usually all smiles but once they go online, they get all egoistical⁴ and repeatedly slander others anonymously. But [what this song is saying is], “I know all about that side of you!”. Also, the song where suicide turned into it’s subject…… (Kogoeru). It happened to overlap to the period of time when there was a report on TV about those who took their own lives, but I wrote it way before that. It makes me feel sorry about that for some reason, though……

―― But it was a coincidence.

S: Yes. But at the same time, one of those things which I’ve been wanting to write about for a long time now is “the fact that such a way of life exists in reality”.

―― No matter the subject matter in Sakurai-san’s lyrics, there’s always an open-minded take towards the idea that “it’s okay to run away”. I think it’s very kind of you to not at all put any blame on those who come to that decision.

S: No, not at all. I’m just being kind to myself (smiles).

―― But I think that this is exactly why [your music] becomes a safety net for those who have fallen into a state where their thoughts consume them, right? Do you also wish that [it’s alright to choose to run away]?

S: Yes. Because I, too, couldn’t run away no matter how much I wanted to. There are a lot of people who were in that situation in their childhood too. While we keep getting told to, “Be a man,” or “Think positive”, I believe there are definitely people who aren’t good at those things. To those people, [I want to say] something like, “It’s okay to be yourself. It’s okay to be whatever feels natural to you.” That’s why there’s also a part [of me that hopes] that maybe [this] can bring a small breath of relief to those who have negative thoughts.

―― Rather than small, I’d think it’ll be a huge relief to them. I do feel that society is filled with an atmosphere which suggests that weakness and darkness is unacceptable, and to add to that, we live in an era where the attacks are all aimed at those who are just hurting, like how you’ve depicted it in Villain. I feel that [this album] is an omamori¹ for them.

S: I’m glad to hear that.

 

■ My obsession with life is very strong, perhaps even twice as strong as a regular person’s
■ It is because we have that greed that we grow tired

 

―― Going back to the topic of the order of songwriting, MOONLIGHT ESCAPE and Datenshi were written, and following those, was Eureka the next one to be composed?

I: This time, Eureka was the last of all to be written.

―― Look at the album on the whole, I could sense the meaning behind the narrative of it with how you raised the curtains with Que Sera Sera Elegy’s “This is the start of an illusion” ⁵, and ended with Eureka’s “I’ll get rid of everything and make it all disappear” ⁶. The message I got from it is that everything in life is all an illusion, and that’s precisely why we should enjoy it as we please. But  Boukyaku (Oblivion / 忘却) comes in at the very end, bringing with it an air of indescribable impermanence. Although it was surprising that the album did not end with Eureka, it was satisfying. Did this song order come about naturally?

I: Nope. When it came to the song order, we were stuck on which of those 2 songs was better for us to end the album with and there were a lot of different opinions about it. But I do think that this form [that we’ve decided on] is really beautiful.

―― Which song did Imai-san back?

I: In the beginning, I backed Boukyaku but at the end, I was like, “As expected……”. Should I speak for the notion of making Eureka the last song?   That thought crossed my mind. I did feel that it’s definitely this one after all, though.

―― How about Sakurai-san?

S: We managed to decide on the song order with director Tanaka (Junichi)’s input as well, but Tanaka-san helped us take a good look at all of it from a bird’s-eye view so he gave us the idea for the first song when he said, “What about Que Sera Sera Elegy?”. He was like an eye-opener; as if he was removing the scales from our eyes. So, when we were trying to decide between Eureka or Boukyaku for the last song, he decided to betray Imai-san, you know? He said something like, “Put Eureka last” (smiles).

I: (Smiles).

『ABRACADABRA』【Limited Edition Vinyl】

―― Were you at it until the very last minute?

S: Yes (smiles). Imai-san and our manipulator Yokoyama (Kazutoshi)-kun planned to put Eureka last and have it link back to the first SE track Peace. But me and U-ta (Higuchi Yutaka / bassist) kept whining, “But this is better~”.

I: But I wanted you both to convince me too (smiles). Like, say, “This is better!”

S: Ahaha!

―― (Smiles). So, everyone was insidiously pestered by Sakurai-san and U-ta-san and eventually this is how it turned out.

S: Yeah. All while saying, “You traitor!” (smiles).

I: Towards U-ta, too, I kept thinking, “Tell us more firmly!” But it felt like U-ta couldn’t say it at all (smiles).

S: Exactly. Because he has no support (smiles).

Higuchi Yutaka

―― You actually wanted him to explain the reasoning behind his recommendation, right (smiles). But even though he didn’t have the words for it, he decided to make you change your mind with his passion.

I: That’s right. But, well, I really feel that this was the better choice (lol).

S: Ahaha!

―― Sakurai-san is laughing at you…… (smiles).

I: For me, I’m just the kind of person who has those very complicated feelings (smiles), but I guess I wanted to mention again the feeling of linking [the final song] back to SE Peace. Because the track Peace itself is a song that was made from the deconstruction of Eureka.

―― Oh, is that so!

I: That’s why I’d think, “Doesn’t it fit nicely?”

―― Making the album end brightly and then cycle back to the beginning. That’s one possible form in itself too, isn’t it? But I feel that the darkness, the rainy mood, and the afterglow of Boukyaku wonderfully turns the overall flow into one that says, “This is the BUCK-TICK World!” With regards to the lyrics of Boukyaku, when did you write them and what thoughts did you have in mind?

S: I think it just so happened that we finished the vocal recording for this song a mere couple of days before the state of emergency was declared. So, I guess it was definitely during a time when I, too, felt that atmosphere around us where the world and even Japan was gradually getting invaded by anxiety. But I’ve always had the notion that, “I want to write about this feeling.” Although, I don’t really know myself whether this came about because I was being influenced by the vibes around me or if it was just a coincidence. Well, I guess it’s a bit of both. Everyone, and myself included, of course, have had a lot of different encounters and experienced many other farewells too. But while those bring both joys and sadness in their own ways, it’s just how things naturally go, isn’t it? At least, that’s how I hope I’ll be able to think one day. That’s the kind of topic I wanted to write about.

―― Is this coming from an observer’s point of view? Or the perspective of your future self looking back on the current you in this time period?

S: Hm…… Perhaps. It’s one of my usual themes, though. Like, returning to the earth⁷ or returning to the womb⁷. We get born into this world, but there’s a sense of, “So many things have happened, haven’t they? And now you’re tired, aren’t you? Well, then, let’s go home.” I just think it’d be nice if that’s the kind of story I can tell.

―― In track 5, Tsuki no Sabaku (Moon Desert), you’ve written “Until we turn to bones   Until we turn to ashes” ⁸; a description which appears to make us think about our afterlife even after we’ve decomposed. Isn’t there something similar to an attachment to life implied in there?

S: No, it’s quite strong there. On the other hand, it is because we have that greed [for life] that we grow tired. I guess, maybe my obsession with life is very strong, perhaps even twice as strong as a regular person’s.

―― So, is that why when you feel “pain” while living your life, you’d accept that you’d feel “tired” or want to run away or take a rest and allow yourself to feel down?

S: Yeah. It’s like I’m telling myself that. Although I think that it’d be nice if everyone would have a listen and feel it in different ways.

―― I see…… It permeates every word [you write]. Boukyaku is a beautiful, wistful, melancholic ballad, but it’s something special to Imai-san too, right?

I: That’s right. When I was composing it, I felt that I’ve written a good one.

―― Only Imai-san can write this melody line, right?

I: That’s not true, though (smiles).

―― When you were writing this song, did Imai-san have any scenes in mind?

I: I wonder…… I didn’t have any of that in particular. Instead, I was thinking of writing a gentle song, or something like that.

―― Next, I’d like to ask about two other songs which upon the song title announcement had me excited and wondering what they would be like. Maimu Mime (Dancing Dreaming Mime / 舞夢マイム)  and Dance Tengoku (Dance Heaven / ダンス天国).  How did this series of “dance” songs come about?

I: For Maimu Mime, I had the notion of wanting to create something that sounds like a popular song from the past. When it was done, I thought, “Ah, this is already perfect for Sakurai-san’s signature worldview.” (Smiles). I got the feeling that this is where the song came from.

―― A song where one person plays the roles of both the man and the woman at the same time. It’s an explosion of Sakurai-san’s world, isn’t it?

I: No, I didn’t know exactly how it was going to turn out, though (smiles). I was looking forward to seeing what lyrics he’d come up with for this song.

―― When Sakurai-san first heard Maimu Mime, what impression did you get, and what kind of lyrics did it make you think of writing?

S: It felt like “a popular Showa-era song” and at first impression, I already decided, “Let’s keep it that way.” A lot of different scenes came to mind, like the sloppy conversations between men and women at a karaoke (smiles), and the atmosphere of Shinjuku, and so on.

―― It certainly creates the mood of an obscene and degenerate city, doesn’t it?

S: I wanted to make it a song that sounded as if it was born of Shinjuku, as if it came from that sort of world. Such a world has sorrow, the stylish backs of nihilistic men, the men and women who grow tougher and tougher…… I thought it would be good if I could build such a world from top to bottom.

―― When you’re writing song lyrics from the perspective of both a man and a woman, does Sakurai-san have certain characters in mind to draw from?   For example, someone around this age, or someone with this attribute, and so on.

S: That I do have.

―― So, the profiles of these two in the lyrics…… Ah, but it might be rude to ask.

S: I think it’d be more fun to let people imagine that part for themselves after all. Rather than having me reveal, “they’re between their late 20s and late 30s…” and so on and so forth, it’s better if [listeners] create these characters for themselves (smiles).

―― My heart skipped a beat when they said these terrible things like, “Shall we try dying” ⁹ so carelessly.

S: It sure gives the song a touch of Showa-era dramaturgy, doesn’t it (smiles).

―― Dance Tengoku is Hoshino (Hidehiko)-san’s song. What did you think about this song?

S: This song is one that Hide (Hoshino Hidehiko) wanted to do with a kind of “Here’s me knowing about avant garde too!” and that’s also evident here (smiles). I thought maybe it’d be good for the lyrics to ride on that too. This one belongs to the Showa world too.

―― This doesn’t sound like it’s Shinjuku, is it?

S: Well, this is [set] in Mishima Yukio’s Confessions of a Mask¹⁰. Like, in the final scene, the male protagonist becomes euphoric at the sight of a rugged man’s body.

―― I see. There’s a phrase that goes “Be it woman   Be it man   It doesn’t matter” ¹¹ which gives me the feeling that it’s a free world which breaks down traditional values, but in the case of Confessions of a Mask……

S: Yeah. This is a modern-day…… How should I say this?   There are all kinds of men and women so rather than discriminating them, I was hoping that [this song] would give them a sort of upbeat feeling, like “It doesn’t matter whichever way you go. Let’s just dance and have fun!”

―― This is an up-to-date LGBT perspective, isn’t it? Completely different from the gender view in Maimu Mime.

S: That’s right.

Hoshino Hidehiko

 

―― And the methods of depiction in Que Sera Sera Elegy, URAHARA-JUKU, and SOPHIA DREAM are all different but I’m getting the impression that the common motif present in all of them is the hallucinatory experience. I had all sorts interpretations, for example, was SOPHIA DREAM part of the world of Lucy in the Sky With Diamonds (The beatles)? And so on. Imai-san wrote the lyrics to Que Sera Sera Elegy and SOPHIA DREAM so what did you think of?

I: For SOPHIA DREAM, right from the start I already had the intention of making sure the words “SOPHIA DREAM” alone would make up the crux of the song. So, that’s where I started [the lyric writing process] to somehow make the whole thing feel fictional while looking down on this world from up above.

―― A young girl looking down from the sky; is that image similar to the album jacket’s artwork?

I: Yeah, probably. That’s the kind of picture or rather, image I had in mind.

―― What about Que Sera Sera Elegy?

I: For this song, words which matched the the melody somehow come to me at the same time while I was composing it so I decided, “I’ll compose and write at the same time as far as I can.” That’s how I ended up writing it and this is what it turned into in the end.

―― Is it rare that both the music and the lyrics come to you at the same time?

I: That in itself isn’t all that rare, though. Also, I guess you could say that the A-melody was more like a rap so, I suppose it’d be quite the hurdle for Sakurai-san to “put words to this” rhythm even if I asked him to after all.

―― So this is because you felt that it’d be difficult.

I: Yeah. Because I also felt that it might feel unnatural no matter what other words were applied to it. That’s why I thought of doing it myself right from the start.

―― When it comes to such a song, you won’t let Sakurai-san listen to it until it’s done?

I: No, not really. Even when I get to a point when I’m wondering, “What should I do with the lyrics?”, in the end, I might decide, “I should ask him to write it after all,” but there are also times when I’d decide, “I think I’ll write it after all.”

―― So, it depends case by case. URAHARA-JUKU’s lyrics are by Sakurai-san, so how did those come about?   These lyrics bring up scenes of youths put in danger, though.

Yagami Toll

S: For this song, I’ve moved from Shinjuku to Harajuku (smiles). It’s a poppy and glittery place for the kids but I think it’s dangerous to yearn for such places blindly. This came from the impulsive anger that I, too, felt when a young girl’s abduction and captivity was being reported in the news. I wanted to tell the story of a girl who does various things…… even selling her body. Ultimately, the song is saying, “But you should be careful.” Only you can protect yourself.

―― A warning.

S: That’s right. In the end, the girl pushes the bad guy away in Omotesando. To let him get struck by a car.

―― She fights back properly.

S: But it’s like, “You go home and sleep. I’ll take the rap” (smiles). That’s the kind of story it is.

―― This time, you’ve included different versions of a few previously- released songs. There is Cube Juice-san’s Kogoeru Crystal CUBE ver. (Kogoeru is the B-side to the previously released single, MOONLIGHT ESCAPE) where he handled the manipulations, and Kemonotachi no Yoru YOW-ROW ver. and Datenshi YOW-ROW ver. Only these songs had names attached to their titles, but I thought it was unusual. I think it would’ve been fine for them to be recorded as album versions without any additional notes, but why did you choose to name them like this?

I: I guess…… I thought it’d be complicated if we were to just bring the titles across like that. Like, if we do that, it’ll give people all sorts of impressions [based on the title alone].

―― Do you mean that naming the songs with an adjective like, “〇〇~ Electria ver.” would limit their imaginations?

I: Exactly. That’s why, even if we were to name it in a way that says, “This is what it is,” and highlight it, for example, simply stating that what YOW-ROW made is YOW-ROW’s arrangement, there will also be those who say, “Is his name enough?” And also it’s honestly a pain in the ass to think about every single track as a mix or something like that (smiles).

―― (Smiles). Because that person’s arrangement is something unique too, and it doesn’t need any other adjectives to describe it, right? It also got me wondering if you’re treating them like family because it was quite impactful to look at the list of songs and see names aside from the band members’.

I: Ahh, that’s because we’ve been enjoying having them work on a variety of things for us over the past few years.

―― So there were no qualms about putting their names there?

I: Yes, that’s right.

 

■ Although it’s probably impossible create a “tour mood” with the film concert
■ I’m happy if it gives them an excuse to come all dressed up, and make it as unordinary¹⁴ as possible

 

―― I was surprised by your unusual decision to release this album in all formats available. You’ll be releasing your first vinyl record in about 22 years and your first cassette tape in about 28 years in addition to a CD, high-resolution streaming, and even download/streaming services. What are your thoughts regarding this?

S: I didn’t think anything of it in the beginning (smiles). I thought we were going to release it normally in CD format. Regarding the vinyl record, it came about because designer Akita (Kazvnori)¹² who thought of expressing [the design] with a large jacket. To date, there were a few times when he has given us LP-sized photographs when we didn’t have anything of that size, and there was once when he helped us out when we did. But this time, too, he gave it to us in this form.

―― We can enjoy it in high-resolution sound quality and yet at the same time, there’s a cassette tape version too. It sure is nice for the recipients to freely choose whether they want to enjoy [the album] through state-of-the-art technology or through a nostalgic item.

S: It was Imai-san who said he wanted to release a cassette tape. Cassette tape specialty shops are gradually growing in number these days, and record stores are still around too, right? I think that these are things that those who still love such items can enjoy after all. But I don’t have a player that can play this time’s LP, though (smiles).

―― And this is where the BUCK-TICK portable vinyl player comes in, right (smiles). And it’s still getting a flood of pre-orders. Is Imai-san particular when it comes to cassette tapes?

I: On occasion, I catch word that cassettes are becoming a serious fad. I think kids these days know nothing about cassettes. But I guess it’s fun to have it as an item anyway, and they look like they’re having fun to me. That’s how it really was in the beginning, right? That’s why during the meeting, I thought, “I guess I’ll just mention it.” (Smiles).

―― As the main composer, how does Imai-san feel about the high-resolution versions?

I: When I had the chance to listen to it in the studio, I thought that it was really great in terms of sound quality.

―― There is a lot of audio information in BUCK-TICK’s works in recent years so there’s always a discovery where I notice that there’s another sound after listening to it a number of times. I’ve had the opportunity to listen and compare, and I thought that being able to listen in high resolution suits both the characteristics of the music and the needs of the listener.

I: Yeah, I think so too.

『ABRACADABRA』【Limited Edition Cassette Tape】

 

<BUCK-TICK Portable Vinyl Player>
<BUCK-TICK Portable Cassette Tape Player>

―― And it appears that the orders are flooding in for pre-orders of the BUCK-TICK vinyl record player and cassette tape player which were also designed by Akita-san. Those are attractive items that definitely get people thinking, “I definitely want it!”

I: That’s right. I want them myself (lol).

―― Although there are enthusiasts, this is an attempt to create an attachment to the music players of the previous era which are generally getting used less and less. There’s a trend in the world where everything is becoming more and more data-driven, and I think this is a wonderful antithesis to that.

I: Indeed, I think that’s true.

―― I’m wondering whether this is fundamentally linked to your holding of the film concert tour. How did it come about? This form of pre-recording a live and then screening them in various concert halls around the country?

I: We first found ourselves in a situation where we could no longer go on tour and we started wondering, “What should we do?” Since it’s no longer possible for humans to to actually travel to each location at that stage, this was the only option we had. We just decided that we’d do our best and hold a tour the best way we can.

―― I think you could’ve chosen to not to do a tour that uses live venues but instead, for example, held a live with everyone in Tokyo with everyone and then streamed it, or something like that. I wanted to ask what was your main reason for not doing so, and what you had in mind [when coming to this decision].

I: That’s, that, isn’t it?   Grown-up problems¹³…… (smiles).

―― So, basically, it’s too late to cancel it (smiles). That’s a given, and it can’t be helped after all. In a worst case scenario, if an artist only performs and talks alone in their own room  to stream, it would be difficult for them to continue their activities, right? I suppose it could be said that even if it’s just in the form of a recording, giving people the opportunity to go to a live show and actually go to live venues at each location also creates jobs for the staff and other related persons. I had the feeling that perhaps the decision to do this film concert tour isn’t only about yourselves, but also considers the future of the team on the whole. What do you think?

I: I think in terms of how we’re going to do it in future, I guess you could say that this is one way or something like that. Of course, you could say that live broadcasts can reach everyone without barrier, and it can reach everywhere all in one go. But this tour came about because we’re in this situation, and I guess we want to try out a variety of methods. I guess that’s what it is, I think.

―― What about Sakurai-san? What do you think about your tour taking this film concert tour type of shape?

S: We heard about the event organisers’ situation from them, and when we asked, “What is the best way for us to go about this?”, what they suggested to us was this film concert tour. In the end, it’s certainly not possible for us to travel to each location, so at the very least, we’ll let our staff work but with sufficient measures to prevent infection, of course. And we also provided information to encourage visitors to the venues to take extra care. I think we were able to do it in a better form, as close to best as possible. Although it might be a little impossible to let everyone who is coming to the venue feel the “tour mood”, they can still come to the venue all dressed up. I’ll be glad if we can make it as unordinary¹⁴ as possible for them.

―― Preparing for the day ahead of time, leaving home to go to the venue and meet your friends, talking about the live show on the way home…… All of these have become difficult to do now, but all the time spent going through this series of these unordinary¹⁴ events is part of the joys of going to a live show, isn’t it?

S: That’s right. I’d like to let them have a taste of that feeling even if just a little. Although it’s a little frustrating for us that we can’t go to each location.

―― Is there only one recording for this film concert tour?

I: Yes, we’re already done. With a setlist made for the film concert.

―― On Monday, September 21, the anniversary of your debut, you will be holding your first no-audience, live online broadcast concert called ABRACADABRA LIVE ON THE NET. Is the content for this completely different from the film concert?

I: We’re performing the new songs for both events, but everything else is completely different.

―― I believe this no-audience, live online broadcast concert was decided because the members had a strong desire to do this. How did you come to this decision?

I: When everyone gathered for a meeting regarding the film concert, we already had the desire to do a live broadcast, so we suggested it there and then.

―― I see. So you’ve been thinking about the two sides of this and the film concert from the very beginning.

I: Yes. We solidified it from there.

―― What does Sakurai-san think about the no-audience, live online broadcast concert?

S: If there are people who tell us, “We want to see it,” then there’s no reason for us to not do it any more, is there? Even for the recording of the film concert, I thought, “I don’t know if I’d be able to muster up this much energy when there’s no audience……”. I just feel that I receive a lot of energy from the audience when we do concerts with an audience.

―― It made you notice the irony of it.

S: That’s right. The cheers and the applause and the eye contact. I was reminded that these were what inspired me to get up on stage.

―― Speaking of no-audience live concerts, you had experience in it with SATELLITE CIRCUIT in 1991, right?   A groundbreaking experiment in the early days of satellite broadcasting, it was held as a centerpiece event to commemorate the inauguration of WOWOW, and was broadcast live across the country.

I: That’s right, yes.

―― Do you still remember how you felt at the time when you took on this challenge? And how you felt watching it after it ended?

I: Personally, I had fun doing it. That’s why I wonder if that feeling will resurface again this time.   That said, honestly…… I did find myself wondering which [camera] is it (smiles).

―― What does Sakurai-san remember about it?

S: Uhh…… Sorry, I thought, “That’s bland.” (Smiles).

―― (Smiles). Something’s missing if you’re not standing before an audience?

S: That’s definitely it. Where to look, what to say…… I was even wondering whether an MC was even necessary. But even now I’m being told that the MC I gave back then was out of context (smiles).

I: (Smiles).

―― It was a legendary MC, wasn’t it (smiles). Do you come prepared in advance for what you were going to talk about?

S: No, even now I still don’t prepare anything when it comes to the MC.

―― Most of us decide on what to say dependnig on the atmosphere in the venue. Is Sakurai-san that type of person?

S: That’s right. That’s why I end up talking about unnecessary things too (smiles).

―― Well, then I guess we still don’t know what you’re going to say on Monday, September.

S: …… Maybe nothing (smiles)?

―― Please say something (smiles). I do want to sigh and say, “When will be able to go back to the good old style of live concerts?”, but what does BUCK-TICK envision the future format of live performances to be?   I suppose you’re going to see how it goes with this attempt first.

I: That’s right. With regards to live streams, I guess the good thing about them comes through because of this present situation that we’re in. If this isn’t the case, I don’t think we’d do that.

―― BUCK-TICK is also very popular abroad, and it’s big that those fans who can’t really attend live shows usually are able to watch now, right?

I: That’s very true. Given that, I do wonder how it’d turn out since there are no capacity limits at all too. I also wonder about whether there will be more different ways to do this in future.

―― We’re in a situation where COVID-19 has not only affected live shows, but also questions the very existence of music and puts the arts and entertainment industry in jeopardy. Considering all of this, was there any part that made you re-examine your feelings towards music?

I: I feel that in this situation, the form with which we bring [our work] to our fans and music lovers is gradually changing and refreshing itself.

―― This was also a period when we keenly felt that even though we’re feeling down, music is definitely something that gives us a lot of support. In that sense, did your trust in music as a medium or personal feelings of, “That’s what we’re creating,” grow stronger?

I: I think it did grow stronger, and there were more opportunities for me to think especially about those things.

―― What about Sakurai-san?   As new methods to distribute music come about, was there any part of you that reconsidered the significance of the existence of music, or renewed your feelings about it?

S: I think everyone did have those thoughts, but I only imagine that things will get better. That’s why we take measures to step up towards that end, and so on. I think the most wholesome thing for us is really to interact with the audience at concerts with our music, though. Until we can return to that, we can only bear with it because COVID-19 infections are life-threatening. I hope to someday meet everyone again on a concert tour. Also, for me, music is something that has been saving me since I was a child. So, this isn’t part of our earlier conversation, but [music] was also a place where I can escape to. And that’s why I hope that each person’s method of listening and enjoying music remains the same. I’d be happy if that’s the kind of existence [that music] can have.

―― Looking back, at the time of 9.11, you you depicted your wish for a peaceful world with Kyokutou yori Ai wo Komete, and after the Great East Japan Earthquake, you released the album Yumemiru Uchuu to be close to those who have been hurt by the disaster. Considering the state of the world now, who are the people you’re hoping to support and help the most with this album?

S: Ah, no, that’s…… We’re not being presumptuous here thinking that we can do something about things from where we are. We have something that we’ve created ourselves here, and we just think that it’d be nice if various people happen to to feel that, “This really resonates with me now.” This is something that belongs to the listeners and if we happen to cross paths, then that’s good in itself too. Like, if they encounter our music and think, “How poignant,” and things like that…… I really think that’s enough. Because we can’t actually be close to them or anything like that, right? That’s why I think that as long as there are people who enjoy our music and like it, it’s enough.

―― Does Imai-san feel this way too?

I: I do. I mean, I don’t think about it that much, though.

―― Looking back on this album again, were there any discoveries you made following its completion?   Things that unintentionally turned out a certain way, and the sort.

I: Since we had to suspend activities, and had our recording progress in various ways we’ve never done before, there was a part of me that, although sure that we’d complete the album, also had no idea about what kind of album it would turn out to be. I think that conversely made it an album that I looked forward to.

―― What about Sakurai-san?

S: The stories I wrote, definitely…… Or rather, it’s most certainly not positive or forward-looking either. There isn’t even a message that says anything like, “Let’s cheer up”, though. How appropriate it would be to say, a negative multiplied by another negative makes a positive (smiles).

―― No, it’s definitely appropriate. It’s lovely.

S: My energy leans towards the negative, but when it is multiplied with those who feel a little down, we’d be like, “Oh, yeah! Let’s go!” Well, if only it’s like this (smiles). If only I could generate affirmative courage, even if just a little. Like what you said today, the way you called [the album] an omamori…… That’s a good one (smiles). It’ll make me happy if those people can listen to this album like an omamori.

―― Aside from “Make everything disappear!”, the chant “Abracadabra” appears to have a variety of different interpretations, even one that says it dispels plagues. Don’t you feel that this can be taken in many different ways?

S: That’s right. You could say that for me, I simply mean to say, “This is just a verbal spell, but this is all I can do. My apologies.” Like, if many different people cast many different spells, that should do something, right? (Smiles).

―― But words are important, aren’t they? I feel that words and music have a soul. We’re still not sure about how the annual year-end live concert will turn out, but when I hear Sakurai-san’s “Have a happy new year” and Imai-san’s guitar phrase when he leaves the stage, I feel like I’ve received a lovely gift (smiles).

S/I: (Smiles).

―― Lastly, regarding this album’s artwork, what were the keywords that the band shared with Akita-san?

I: No, well, we had a meeting with designer Akita-san, and he told us the idea with which he wanted to proceed. At the time, we had a few different ideas floating around, but among all of that, we felt that this one’s good.

―― It’s a very bright jacket, which is an oddity among your works which have been mostly dark, isn’t it?

I: That’s also something I mentioned to Akita-san in the beginning. I thought it’d be nice if we had a rainbow in there.

―― It’s beautiful and it feels fresh. How does Sakurai-san feel about this?

S: I think that it’s a good thing that it isn’t dark. For this time (smiles).

―― Why do you think so?

S: Like the lyrics that Imai-san wrote, it is “hopeful”, and it’s also related to my lyric of “like a rainbow” in Boukyaku. In this way, I can convey the things that I’m embarrassed about through Akita-san’s art work.

―― What a wonderful collaborative effort.

S: It sure is. It’s because I already trust him.

―― Well then, we’ll first look forward to the album’s release and the no-audience, live online broadcast concert on Monday, September 21. Thank you!

S/I: Thank you.

 

 

 

 

 

Notes:

* Do note that any lyric translations featured here are subject to change.

¹ Omamori (御守 or お守り) are Japanese amulets commonly sold at Shinto shrines and Buddhist temples, dedicated to particular Shinto kami as well as Buddhist figures, and are said to provide various forms of luck or protection.

² I believe the interviewer was referring to Kemonotachi no Yoru/RONDO.

³ The word used here was 沈んで (shizunde), used to refer to something sinking.

⁴ The phrase used here is 鬼の首を取った (oni no kubi wo totta), literally, to have chopped a demon’s head off. It’s a saying that typically refers to a person boasting, or being overly prideful or triumphant over inconsequential things.

⁵ A line from Que Sera Sera Elegy: 幻想の始まりだ (gensou no hajimari da).

⁶ A line from Eureka: 全て消えて失せろ (subete kiete usero).

⁷ “Returning to the earth” as in the cycle of life and how people all decompose and effectively return to the earth. “Returning to the womb” as in 胎内回帰 (tainai kaiki) the unbirthing thing.

⁸ A line from Tsuki no Sabaku: 骨になるまで 灰になるまで (hone ni naru made   hai ni naru made).

⁹ A lie from Maimu Mime: 死んでみるか (shinde miru ka).
n
¹⁰ Mishima Yukio was a Japanese author, poet, playwright, actor, model, film director, nationalist, and founder of the Tatenokai. Mishima is considered one of the most important Japanese authors of the 20th century.
Confessions of a Mask is his second novel. First published in 1949, it launched him to national fame even though he was only in his early twenties.

¹¹ A line from Dance Tengoku: 女でも 男でも どっちでもいいのさ (onna de mo   otoko de mo   docchi demo ii no sa).

¹² Kazunori Akita or Kazvnori Akita have worked on BUCK-TICK’s album and single covers for a long time now. You can see all his works here: https://www.instagram.com/kazvnoriakita/

¹³ The actual phrase was 大人の事情 (otona no jijou), which is an excuse for not explaining something (lol). It can be translated as “adult matters”, “grown-up business”, or basically, “none of your business”.

¹⁴ Meaning to imply, not an ordinary day.

 

 

 

Translation: Yoshiyuki
Source: https://www.barks.jp/news/?id=1000189126

The “Plague Repelling Spell” BUCK-TICK Speaks Of

BARKS.jp
18 September 2020

 

The latest issue of the “rock magazine to read”, ROCK AND READ #091 will hit the shelves on September 19. This issue’s front features Sakurai Atsushi and Imai Hisashi of BUCK-TICK who will be releasing their 22nd album, ABRACADABRA on the 33rd anniversary of their major debut, September 21.

Also joining Sakurai Atsushi and Imai Hisashi within the pages are Hoshino Hidehiko, Higuchi Yutaka, and Yagami Toll. All 5 members of the band will talk about the album ABRACADABRA and each track on it individually.

ABRACADABRA, their first original album to be released in 2 and a half years was finally completed after a brief pause in recording activities because of COVID-19, but at the same time, it has turned out to be an album which was aptly born out of such a production situation. Furthermore, the interviews are said to give a fulfilling glimpse to the behind-the-scenes of the album’s production with content like the messages which Sakurai conveys through his lyrics and why the album has been given the title of a plague repelling spell of Abracadabra.

In addition, the magazine includes an article which discusses the “Buck-Tick Phenomenon (Bakuchiku Genshou)” that occurred 33 years ago in 1987. It will re-examine all of this while looking back on the intent behind the stickers which were pasted everywhere to announce their 1 April 1987 concert at Toshima Public Hall, the significance of their major debut with their 21 September 1987 Buck-Tick Phenomenon at THE LIVE INN (Bakuchiku Genshou at THE LIVE INN) concert video, their Tokyo Dome performance in 1989, and their documentary movie Gekijouban BUCK-TICK ~Bakuchiku Genshou~ (The Buck-Tick Syndrome I).

 

■『ROCK AND READ 091』, releasing Saturday, 19 Sep 2020 

■ Related links
ROCK AND READ Official Twitter

 

 

 

 

 

Translation: Yoshiyuki
Source: https://www.barks.jp/news/?id=1000189036

“Kogoeru” to be Ending Theme of Yamishibai (Iki)

Natalie.mu
14 August 2020

 

It has been announced that BUCK-TICK’s new song, “Kogoeru”, will be the ending theme song of the TV Tokyo late-night drama Yamishibai (Iki) [Shadow Picture Show – Live] premiering on Wednesday, 9 September.

Adapted from the popular horror anime Yamishibai directed by Iguchi Noboru, Yamishibai (Iki) is a live-action drama produced by TV Tokyo and Dear Stage. The ending theme song “Kogoeru” is a striking new song with lyrics written by Sakurai Atsushi (vocals) and music composed by Hoshino Hidehiko (guitar), with chilling lines that serve to highlight the sense of dread present in the drama. This is one song where BUCK-TICK’s style of pop-sense and dark world view shine.

Sakurai shared a few comments in response to the band’s involvement with the provision of the ending theme song. With regards to the song itself, he explained, “This song is about a sorrowful soul who wanders between that world and this, and from this world to the next.”

“What a blessing it is that (this song) is to be the lullaby which draws everyone to the edge of darkness in the aftermath of Yamishibai. I will be waiting for you on Wednesday in September, before the dead of night at Yamishibai (Iki). Do your best to make sure you don’t forget.”

Comment from Sakurai Atsushi (BUCK-TICK)
It is a great honour that this time, BUCK-TICK’s Kogoeru
has been chosen to be the ending theme song for Yamishibai (Iki).
I hope that we can contribute some deadly flowers to the world of television drama, even if just a few.
This song is about a sorrowful soul who wanders between that world and this, and from this world to the next.
What a blessing it is that (this song) is to be the lullaby which draws¹ everyone to the edge of darkness in the aftermath of Yamishibai.
I will be waiting for you on a Wednesday in September², before the dead of night² at Yamishibai (Iki).
Do your best³ to make sure you don’t forget.”

 


Premiering: Wednesday, 9 September 2020 at 25:28~25:58*
(※25:28~25:58 on every Wednesday thereafter)

 

 

 

 

Notes:

¹ Instead of using the modern-day reading of 誘う, さそう (sasou), Sakurai has seemingly deliberately chosen to use いざなう (izanau), an archaic and more uncommon reading of it which is more exclusive to poetry or literary works these days. A notable instance where Sakurai chose to use the “izanau” reading that I can remember off the top of my head is in Ai no Souretsu (lyrics).

² Here, Sakurai used 長月 (nagatsuki) rather than the usual 九月 (kugatsu). Nagatsuki the name that was used for September in the old Japanese which was adapted from the Chinese lunar calendar. Nagatsuki literally means “the long month).
On the other hand, Sakurai used 丑三 (ushimitsu) to state the approximate time of the show’s broadcast. Under Japan’s ancient time-telling system, Ushimitsu is the period between 2:00 AM and 2:30 AM. Certain hours of the day such as Ushimitsu-doki (the dead of night) and Omaga-doki (twilight hour) were thought to serve as boundaries to the sacred area. Omega-doki is probably around 6 PM, dusk.

³ Sakurai used 努努 which reads “yume yume”. I’d bet my coin it’s a wordplay which, once again, revolves around 夢 (yume) – dream. Because, of course it is.

* Yet another interesting thing about Japan is that they denote hours past 24, as seen above (25:28). Basically it’s to state that a particular show starts after midnight or a place’s business hours extend beyond midnight. So in this case, 25:28 will be 1:28 AM. Just subtract 24 from the hour.

 

Translation: Yoshiyuki
Source: https://natalie.mu/music/news/392069

BUCK-TICK comments for Forever Shinjuku Loft project

SHINJUKU LOFT
May 2020

 

 

As a brief introduction, Shinjuku Loft opened in Nishi-Shinjuku in October 1976, moved to Kabukicho in April 1999. It has a history of more than 40 years to date.

Since the end of February this year, many performances have been cancelled or postponed to prevent the spread of COVID-19, and after the government declared a state of emergency, Shinjuku Loft has refrained from business activities. If the voluntary restraint on business continues, the survival and history of Shinjuku Loft, which has been in business for more than 40 years, will be in jeopardy.

“Forever Shinjuku Loft” was launched as a support project. The organising committee will be working on various support projects for the survival of the Shinjuku Loft, including the production and sale of distribution programs and donation goods.

More information can be found on their official website here: http://www.loft-prj.co.jp/LOFT/forever/

The members’ comments are as follows below:

 

 

The first time I went to Shinjuku Loft was for a BOΦWY show (30 Mar 1984). I remember going to a pub with the members after the live and getting to talk to them as if it was yesterday. BUCK-TICK’s first performance was at the “Taiyo Matsuri” [Sun Festival], an event held by Taiyo Records. I remember that it was a very happy occasion for us because this was the one live house that we wanted to perform at the most ever since we all moved to Tokyo. In recent years, they took care of us again when we shot a PV here. Personally, I come here every January for the annual drummers’ meet. I feel that Shinjuku Loft has been an asset to our musical cultural heritage ever since its founding in 1976. Right now, it’s facing a difficult situation but as a number one fan of Shinjuku Loft, I hope that it will be able to reopen again soon.
<Yagami Toll>

When I first moved from Gunma to Tokyo in 1985, Shinjuku Loft was already known as the source of rock music, and as the live house which has produced numerous wonderful artistes. And even now, I still remember that it was BUCK-TICK’s goal to perform on this stage and the excitement that I felt for our first stage performance. Now, because of global COVID-19 infections, we have entered tough times and Shinjuku Loft, too, is in crisis. Let us all cooperate and work together to overcome this crisis so that many more artistes may have the chance to perform on Loft’s stage in future.
<Higuchi Yutaka>

The checkerboard stage that is admired regardless of era! I hope that Shinjuku Loft will stay on forever! Let’s aim for it! I’m rooting for you!
<Hoshino Hidehiko>

✌️ PEACE! We are strong
<Imai Hisashi>

For now, let’s hold on together and endure through this. Spring will come. Stay strong until then.
<Sakurai Atsushi>

 

 

 

 

 

 

Translation: Yoshiyuki
Source: http://www.loft-prj.co.jp/LOFT/forever/

Datenshi, PARADE Ⅲ Feature

PHY Vol. 15
February 2020

text by Ishli Eriko (imai, higuchi), Kanemitsu Hlrofumi (sakurai, hoshino, yagami)
photographs by CHITO
hair&make-up by Tanizaki Takayuki, Yamaji Chihiro (FAT’S BERRY)
styling by Shimizu Kenichi

costume by
kiryuyrik 03-5728-4048
DIET BUTCHER SLIM SKIN 03-5728-4765
原宿VILLAGE 03-3405-8528
UK EXTRA 03-3311-1992
JULIUS TOKYO STORE 03-5728-4900

 

I feel that the one who has to shoulder that burden is me
Because singing about it saves me

You’ll understand as soon as you listen to their new single, Datenshi; that BUCK-TICK has entered a new mode, and that unchanging strength and resolve of theirs. Two years ago, they released their album No.0 in which they incorporated their imagination and message to the fullest. It was a work they stuffed to the brim with the diversity of worldviews which the band possesses, but this single, which brings us a sign of what to expect from this band in 2020, has shown us the complete opposite; a powerful sound which is full of gaps. That makes it a simple yet distinctive sound. From this, originality which can only be produced by these 5 musicians can be heard. That is also the forte of a band which is heading towards their 35th anniversary, and, at the same time, it is also a resolve which stems from the unavoidable awareness that an end will come sometime.

In this special feature, we will explore the present and future BUCK-TICK from various perspectives. Through personal interviews with the members based on their new song, Datenshi, and, celebrating their tribute album PARADE III ~RESPECTIVE TRACKS OF BUCK-TICK~, which will be released at the same time as their single, there will also be a dialogue between Higuchi Yutaka and TOSHI-LOW (BRAHMAN), along with an interview with ISSAY (DER ZIBET) who will talk about the draw of BUCK-TICK and Sakurai Atsushi.

 

 

 

 

 

Individual Interviews

_______________________

Sakurai Atsushi

Interview by: Kanemitsu Hirofumi

Knowing that everyone is watching us with all these thoughts and emotions
It makes me want to get my act together, like, I have to do my best

―― I’d like to hear about your thoughts regarding THE DAY IN QUESTION which concluded last year-end.

S: I’m relieved. Because although there was only one new song while the rest were familiar tunes, I’m constantly plagued by worries about my throat. But I somehow managed to do it.

―― It’s an annual affair on 29 December, but having had to perform at Yoyogi National Stadium First Gymnasium rather than at Nippon Budokan, how did you find it?

S: The first thing that came to mind when I entered the venue was, “The audience is rather far away…… I feel bad.” It was difficult for the audience in the back to see, wasn’t it? I hate to say it, but Budokan is where I find it easiest to get the audience into it and that makes it great, though.

―― Well, you’ll be back at Budokan on this year’s 29 December anyway.

S: I don’t think it’s all that great to perform in large venues, and I think for us, we don’t have to aim for that any more, do we? (Lol). Big venues, they’re not suitable for us. Not really.

―― No, no (lol). The last song, LOVE ME, was just wonderful.

S: That song, I think it was Yuta who said that he wanted to perform it. He felt that it might be nice if we shared a sense of unity with everyone at the end.

―― That’s true.

S: The lyrics are quite messed up, though (lol). But since these people have made it here to watch us perform, I’m happy that it can bring us all together and excite them (even if) that’s the kind of song it is.

―― That was a great end to the year, wasn’t it?

S: It was. Last year, I had quite a lot going on in my private life too and I was in the hospital again, and quite a few ups and downs…… It got me thinking, “Just get it over with!” (lol). (At the end of the year) I got that sense of “Is it finally over?”. Though, it’s not as if (going into the new year) changes anything in particular.

―― And among all of that, Datenshi was produced.

S: That’s right. There’s one other song which was a candidate too. That’s another really nice one. We more or less already decided that we’d go with that one, but then Imai Hisashi pulled out another song. Which was the one which turned into Datenshi. The other song which we had decided on was a very nice medium-tempo song, but we felt that (it would be better) if this could turn into something that was edgy and aggressive even to us…… So, we were able to really venture into Datenshi. 

―― Why did you want it to be aggressive?

S: The first two songs that we completed were very gentle songs. Unlike their finished version, Luna Park, too, initially had a very relaxed tempo. If we lined up those two songs together, (the single) will leave the impression that it’s like an extended version of Moon Sayonara wo Oshiete. Then, just as we were thinking, “Hm… I’m not sure if this is a good idea,” Datenshi came along, so, that was a lifesaver. (With the determination that) I’ll torment myself as badly as I can with this.

―― What do you mean by tormenting yourself?

S: To say,  “You’re no good guy, are you?” (Lol).

―― It’s okay to be a little nicer to yourself, though.

S: That may be true, but I end up feeling that if I torment myself, the real me will emerge from that, you know? It’s funny, but it was the first day of work at the office yesterday, and we (found out that we) received hundreds of mail from the fans since the end of last year (lol). As I read them one by one, I was once again reminded that I had to firmly stand true to what I really feel.

―― Meaning?

S: You see, everyone comes to our concerts with different emotions in them. There are those who are parent and child travelling from far away to come and watch us, and there are also those whose loved ones have passed away. Knowing everyone is watching us from the back of Yoyogi with all these thoughts and emotions, it makes me want to get my act together. Like, I have to do my best.

―― But on the other hand, I believe that there are those who also feel, “You don’t have to shoulder all that burden, though……”.

S: Rather than a burden, it’s an encouragement, you see. It’s the reason why I would want to stand (on stage). To exaggerate, it’s because to me, “to do my best” is as good as a battle with myself.

―― So, you’re saying that it’s necessary for Sakurai Atsushi to be like this and face himself.

S: But it’s just for those few hours. On stage, that would be 2 hours, and during recording, I won’t show my face (to an audience) but (the final product is) something that we’ve worked hard on and condensed into an album for people to hear, so if I do this right…… That’s really how it is, but I guess, maybe it helps a little. Because I usually am a really hopeless man. And today, I’ve made this much of a mess of my face too (lol).

―― (Lol) Haven’t you ever thought that it would be nice if you could get all of that done while being a little more relaxed?

S: As long as the fans enjoy it, I don’t care if people write or say bad things about me. I’m not bitter about it. But it’s not easy (for me) to deal with myself…… Well, I’ve said it hundreds of times, but it’s a matter of what’s learned in the cradle being carried to the grave. And now, I’m the same age as my father. It’s getting more and more ingrained in me, isn’t it?

―― This is something we’ve been talking about for decades now.

S: Yeah, having known Kanemitsu-san for decades, there were times when I wondered when I’ll ever feel better*, but it doesn’t look like that will ever happen (lol).

―― Is it the fear that you might be just like that father of yours?

S: After all, the same blood flows in my veins. The misery and the hate are always…… there, you know? Our blood types are the same, and even our birthdays are the same. That’s a 1 in 365 chance! Can you believe that?   Our faces are exactly the same too. And now, we’re the same age.

―― You definitely can’t help but feel something.

S: I get the feeling that something’s pulling me. Like, come here…… I’m just kidding, though (lol).

―― I don’t want to hear about it even if it’s a joke!

S: I guess so. My elder brother said to me, “Hang in there until you turn 54,” but…… We’re back on this topic again, huh (sigh). Let’s stop.

―― Well, because it’s like a routine (to talk about it)**, isn’t it?

S: Shall we talk about Valentines’ Day or something?

―― Wahahahaha, why so sudden!

S: Maybe we can make a guess of how much chocolate we’d receive or something (lol).

―― Why would I even enjoy competing with Sakurai Atsushi over how much chocolate I’d receive (lol).

S: No, no, no, I mean, a ton (of chocolate) would arrive in the editorial department, right?

―― They don’t (lol). But I have to give my age a little bit of consideration too.

S: Well, age is one thing, but this personality is really…… something that I’ve come to realise I can’t get run away from. I thought I was prepared (to do that), but I guess I really can’t escape from it, can I? I’ve also spoken about this numerous times, but in present-day terms, we’d say that my father committed DV***, right? Domestic violence. My father beat my mother on a daily basis. That memory has always stuck with me, always frightened…… Well, it’s the usual story, though.

―― Apart from that memory, have you ever wondered how far you can go from this point on?

S: I have. Although I’m aware that I have to take it easy and live life following my experiences of getting hospitalised and so on, at the same time, I also wonder how long I can keep doing that. I’m doing what I love so I can somehow discipline and inspire myself, but if I get sick, then, it’s as if my father’s calling me……

―― So we’re going back to that topic.

S: We are (lol). That’s why I want to turn 54 as soon as possible. But I’ve been blessed in the sense that I get to do what I want to do, and recently, I’ve been getting a really strong feeling that I’m doing it right, so when I can find it in myself to say that I’m happy, I am happy.

 

I may make people wonder, “Is he alright……”, but I’m happy. I am.

―― In what areas do you get the feeling that you’re doing things right?

S: When I’m satisfied with our own work. When we put out works that I feel good about. When there’s even a little bit of that although it may not be 100%. It’s because we have music and songs like that that I can say, “Ah, well, I suppose it’s alright.”

―― And also, because you have band members who understand such a Sakurai-san, right?

S: That’s the best part, isn’t it? Though, we don’t usually talk much anymore (lol).

―― Hahahahaha.

S: There are times when I’d spend a couple of days with Imai-san and Hide but we don’t talk at all. It’s just that when we finally realise, we didn’t talk about anything at all (lol). But they consider things from a vocalist’s perspective; there is this invisible care for me. Simply because we’ve known each other for 35 years now. We no longer have to say anything for us to fully understand the other party, and when I’m as tense as I am now, they’ll just let me be too.

―― Perhaps it’s because you’re working with these people that you can express yourself.

S: Perhaps. If we’re talking about the stage, though, Imai-san will come and interrupt my singing (lol). At points when I’m like, “But I wanted to sing it well here!” (Lol). But performing while having such thoughts is something else that is interesting in a band. Like, “Ah, just now, Anii made a mistake,” and so on (lol).

―― Ahahahahaha.

S: As long as I’m on stage, I’m enjoying myself even when I start thinking, “Ah, that just now was off. I definitely went out of tune…… Ah, I’m never getting over it.”  That’s why it’s fun to be in a band, isn’t it? It’s because the other members are around that I’m given the ability to do what I love.

―― Do you have aspirations of wanting to become a certain way or something like that now, at 54?

S: Uh, like perform at Tokyo Dome and the like? (Lol)

―― That’s what Anii spoke of when we went drinking (lol). He said, “I’ll play at Tokyo Dome for my 60th birthday!”

S: He says the complete opposite of what I say (lol).

―― Hahahahahaha, indeed.

S: Anywhere’s fine as long as we can hold a concert. Well, I’d love to if I could, though…… But first, the immediate future; I’d like to ask for our next song as soon as possible (lol).

―― Imai-sa~n, Imai Hisashi sa~n (lol).

S: Ahahahahaha. But the fact that he mentioned his “60th” with “Tokyo Dome”, I have to say Anii’s rough plan is really great (lol). I think that’s also something that has been helping me, you know? It encourages me and makes me aware of things I haven’t thought of, things that I couldn’t have done alone.

―― So, what kind of dreams does Sakurai-san personally have?

S: Ah, well…… I don’t have any. You know this very well, don’t you? (Lol) I’m incapable of doing anything if I’m left to my own devices, and I’d probably be a man who won’t even leave his bed (lol). Though, going to a snowy mountain and freezing to death without anyone finding out about it…… I think it’s just so beautiful, that’ll be nice, I guess.

―― Please stop that (lol). Didn’t you say before that you’d like to live deep in the mountains in the middle of nowhere and spend your life making pottery?

S: But now, I think it’ll be troublesome to learn how to make pottery or even spin the potter’s wheel (lol).

―― You’re getting worse!

S: Because I’m a klutz (lol). Before (this interview), I happened to catch a glimpse of the footage on WOWOW (note: 29 December’s performance at Yoyogi National Stadium First Gymnasium) and I thought,  “You’re an idiot, man.” (lol).

―― Ahahahahaha. Was it the MC?

S: Yes (lol).

―― When you tripped on your words, and then had your embarrassed face show up on all the screens (lol).

S: Don’t you think that’s so stupid?

―― Nope. It’s cute.

S: Hahahahahaha.

―― Don’t everyone in the audience love this Sakurai-san?

S: I’m grateful for it. Although, I feel like I have to do my best and become something like that rockstar who everyone admires……

―― No, I don’t believe that everyone expects Sakurai Atsushi to be cool all the time.

S: I’ll try my best.

―― So what do you hope for this year?

S: I don’t think there’s anything (going on this year) that will bring in interview requests. I’d like for myself to remain healthy, both physically and mentally. Since I’ll feel down when I get sick, I just want to stay healthy as much as possible (lol).

―― You’ve announced that you’ll be releasing a new album this summer. I’d expect that you don’t have all the songs yet, but what do you hope for this album to be?

S: Earlier, I mentioned Imai-san’s song which was a candidate for the single, which wasn’t Datenshi. That was a really great song. It’s Imai Hisashi and Sakurai Atsushi’s music, and lyrics, and song. This might just be the best we’ve ever had…… That said, if we raise the bar too high, that might just be terrible (for the future) (lol).

―― No, no, no, it’s good!

S: I feel that it’s turned out to be a really great song. I think that it was a good thing that Datenshi was made this single, but we really had problems with deciding to the point that we were debating until the very very last minute so…… That’s why I want people to listen to it first as soon as possible.

―― What are the lyrics like for that song?

S: Ahh. You’d probably think, “This again?” (Lol). But although I do feel that I’m talking about the same things, I think there’s nothing I can do about that anymore. Because even if I try to twist things, I’d end up feeling that it isn’t me. It’s not that big a deal, but I do feel that the one who has to shoulder that burden is me. Because singing about it saves me.

―― In other words, it’s something that will never change no matter what happens, like your earliest childhood memory, something you learnt as a child that you’ll bring to the grave.

S: That’s right. I can’t force it. Even if I borrow a concept from somewhere else and decide to perform that, all the things I like are going to be similar anyway, so I can’t run away from it. I can’t be a professional (if I do that). But that does, indeed, appear to be my place. On the contrary, I don’t really know where I belong in everyday life (lol).

―― What do you mean?

S: If I’m working, I know for sure that my dressing room, the centre stage mic, and standing on stage with the other members to sing is where I belong, but when we revert to our regular lives, there are times when I don’t really know where I should go…… I’m pretty sure I come across as a serious man like this.

―― I know (lol).

S: When it comes to work, too, I’ve been late, but I really give my all, you know? (Lol). That’s why it ends up taking a toll on other areas, like family^, and so on.

―― Ah, I see. You’re trying too hard to be BUCK-TICK’s Sakurai Atsushi. 

S: I’m normally as good as an invalid (lol).

―― Hahahahahaha. But it’d be distressing if it disappears, wouldn’t it? Your place of belonging.

S: That’s why I feel that I have to cherish it, whether I’m in my on- or off-mode. Because I’m thankful that there is a mic being placed centre stage for me, and that there’s even a light being shone on me.

―― For this person that you are (lol).

S: Yes. I’m happy.

―― And that is what everyone seeks. We feel that all is well if Sakurai-san is happy.

S: Thank you. I may make people wonder, “Is he alright……”, but I’m happy. I am.

 

Notes:

* The phrase used here was “晴れる (hareru)”, which is usually used to describe sunny weather.

** The original phrase is “業みたいなもの” but the problem here is, I can’t tell if “業” is being read as “gou” or “gyou”. If read as “gou”, then it would mean “Karma”. While as “gyou”, the more common reading, it would generally mean “work” along with all other similar connotations. I’ve gone with “gyou” to say that it’s “routine”, as in something that is done/brought up on a regular basis – like work. Because I honestly don’t think Sakurai is being plagued by this out of some Karmic reasoning.

*** That’s apparently the abbreviation used in Japan.

^ Family here doesn’t literally mean familial relationships. “家庭 (katei)” rather than “家族 (kazoku)” was used, which refers to general nuance of having/starting a family.

 

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Imai Hisashi

Interview by: Kanemitsu Hirofumi

While I was figuring that out, somehow, what came out from inside of me was something that had been sort of sticking out like this which gave off a somewhat deviant feeling
Kind of like the enjoyment of things which fall outside of the rules. Somehow, that was the kind of image that came to mind

―― To start, how did you feel about the 5-show nationwide tour for THE DAY IN QUESTION?

I: Good. I thought it was good.

―― I got to watch your performance in Tokyo too. It felt strange seeing that it wasn’t in Budokan.

I: About that, since it was our first time performing there, I couldn’t really get a proper feel of the sound either. And I was performing without in-ear monitors.

―― Huh, you were?

I: Me and Hide, us two guitarists didn’t use them. That’s why I wondered how the sound would turn out in this case. Budokan is the venue that we’re most used to performing at after all, and while there’s a certain enjoyment in playing at Yoyogi, there was also a bit of unease. But after we gave it a shot, there was nothing to worry about, I guess.

―― Is there a reason why you performed without in-ear monitors? I’d assume that it’s more natural to use them when there’s that much noise being made and being played at the same time, though.

I: No, well, I’ve kind of always…… not used them (lol). I think it depends on the song, but if I’m wearing them, I feel that I can’t quite grasp the atmosphere around me, and I’d be hearing clicks in them…… Like, that’s not very fun is it?

―― Hahahaha!   So rather than (wearing the in-ear monitors), your synchrony with the band and feeling the atmosphere in the venue is more important.

I: Yeah. So, well, I’d just do as much as I can anyway, until I have to ad lib. But, well, then…… I’d start wondering about whether in-ear monitors are really that essential or not, though.

―― Because it seems like it isn’t since you can go that far (lol).

I: But during Locus Solus at Makuhari, there was a point when I went all the way to the front without wearing in-ear monitors. I had to play based on intuition then.

―― Intuition. It’s amazing that you didn’t play out of time.

I: Naaah, I think I did?   The others had quite a few things to say to me, though (wry smile).

―― Also, the setlist which you had for THE DAY IN QUESTION gave me the impression that it was the opposite of the setlist for Locus Solus.

I: Ahh, I guess you may be right. But it’s not as if we deliberately aimed to do that. THE DAY IN QUESTION doesn’t have any particular concept either. The closest (thing we have to a concept) is, “Let’s have fun every year.”

―― Or, “Let’s come together every year-end.”

I: Exactly. Although, that’s why there are also occasions when we’ll bring out lightly thematic stuff moment by moment. Also, we generally tend towards darker (themes) while at the same time leaning towards more upbeat (music). It feels as if we have everything, doesn’t it?

―― Yes. Well then, moving on to the topic of production, you’ve been composing since around last summer?

I: Yeah. Well, relatively early. I started composing at the stage when I started thinking that maybe it was about time for me to make preparations.

―― For Imai-san, do you compose only when you decide to? Or is it an accumulation (of compositions) regardless of when they come to you?

I: Nah, I don’t do accumulations. Although I do occasionally go into my workroom and write a memo or do something like that on a whim.

―― What kind of themes or hints came to mind when you decided to compose?

I: Mm…… There wasn’t really any in particular, but, well, I thought that as long as I started working on it, something might come up. So, while I was figuring that out, somehow, what came out from inside of me was something that had been sort of sticking out like this which gave off a somewhat deviant feeling. Kind of like the enjoyment of things which fall outside of the rules. Somehow, that was the kind of image that came to mind. Even now, I can’t quite put it into words though.

―― At the same time, “deviant” is, in other words, pretty much “the usual BUCK-TICK”, isn’t it?

I: That’s right. And that’s why the more I say it, the more I end up getting the feeling that we just keep going round and around the same things. When I talk about this feeling in this particular circumstance…… it feels like, “This isn’t all that much of a concept, though” (lol). That’s why I’d first start with an album that we had already made, and then take it somewhere different. To somewhere where (I can find) interesting elements.

―― So you’ll be taking No.0 somewhere different.

I: Yeah. I’ve been thinking that I want to do something interesting. We have 2 guitarists, a vocalist, and a drummer and a bassist. And I’m wondering if we can do something interesting with that structure, the way the sounds overlap and so on. Something like a slightly different kind of band sound than our usual. Whether or not that’s possible, I’m still figuring it out.

―― Are you talking about (looking for) something that is yet unknown from within your band’s style?

 

I: Yeah. Like, “is there still anything that’s kind of amazing, and intriguing (in here)?”

―― That’s a very interesting sense. And that’s despite that we’re in an era where bands as a structure is most certainly said to be, “Something old, a thing of the past”.

I: That’s true. But it’s also something that’s normally considered as cool; the sense that something which is cool, is cool. But if you’re too consumed by that and only that, then it’s like, getting your priorities wrong, like, you’d find yourself in a situation where you don’t know what the hell you’re doing (lol). That’s the feeling I have now. Maybe I’d go in a more electronic direction, or maybe I won’t even have guitars in (the music). Nothing has solidified yet, at all.

―― If we’re talking about Datenshi, it’s based on rock n’ roll, right?

I: Ahh. Well, because that very first riff is a riff that came from somewhere.

―― A riff from somewhere (lol).

I: You know, that’s a very simple riff, and it’s not as if I started composing the song because I thought, “Ah, this riff is cool.” It really is something that can already be found somewhere.

 

I think that if we do things in accordance to a demo, we won’t be able to go above and beyond. We can’t just follow what’s there
Instead, I think we need to break it down a little or take a little out and loosen up so that we will be able to do even bigger things

―― Though, it’s true that for a moment it sounded as if it bordered on becoming a parody. Like, (a parody of) T. Rex or something similar.

I: Exactly. It’s a very simple rock riff, like a representative of that. I’m really glad that it turned out like that. And from (that riff) came the image of (a song that’s) a slightly peculiar kind of pop which includes (elements which are) somewhat radical and cutting, and noisy and disquieting.

―― And that’s also a deviation from the image itself, isn’t it? This is a very extreme example, but Imai-san, have you ever thought of being in a band similar to Ramones?

I: Mm…… Well, I’ve released 2 albums with the band Lucy, though. For those, well, I ended up adding a variety of sounds into it once I started working on it, but it was originally a band which started out being tied to a simple rock n’ roll concept, you see. That’s why I got the idea that it might be interesting to go all out (with the concept). After all, there’s also beauty in being able to do nothing but that.

―― It’s the same with SCHAFT, too, right? It was tied to the industrial genre. Is no such thing in BUCK-TICK at all?

I: Yep. None. If anything, I guess you could say that these types of rock n’ roll and industrial genre music that you just mentioned, these old-school styles (of music) is not what (BUCK-TICK) goes for.

―― You don’t go for old-school styles (lol). To seriously and thoroughly pursue one particular genre is an engaging route to take too, but I suppose you’re not very interested in that?

I: Mm…………… Nah, I don’t really think about it.

―― Hahaha.

I: I just go for whatever happens to catch my interest at that point in time. Because I think that’s how it naturally works. And the whole band comes together for a meeting before we start recording, but we don’t talk about things like, “This time, we’re doing this and this with that concept,” y’know? Though we always do it here.

―― Ah, in this room in Victor Studio?

I: Yeah. We talk here, and if we happen to have demo songs on hand, we’d listen to it, then we’d go for dinner…… That’s when the conversation gets serious, though (lol).

―― Yuta-san said this previously, that Imai-san’s demos are quite vague or something.

I: Recently. It depends on the song, but if it’s, let’s say, a song with a four-on-the-floor dance beat, I’d usually play the bass (first) with the root note. (Then I’d tell Yuta) something like, “I probably don’t have to say this but you’ll play something that hits hard, right?”

―― So you leave that to the band members.

I: Yeah. I think it’d still turn out to be an okay song even if I don’t go that far. Because I suppose they can already do it without needing me to fill in every single detail.

―― So, it’ll always turn into something with a BUCK-TICK flavour no matter what you do. But is this something that’s only came about recently?

I: It’s recent. It was like this with Kemonotachi no Yoru, and also, this new single. Before these, I’d put in a lot of effort to elaborate on things down to rather minute details, but it’s not quite…… Even I started to get the feeling that (being so particular) makes things kind of boring. It’s like, there were moments when I thought that maybe things would be more interesting if they were not done exclusively to my preferences. That’s why, when Yuta asks me, “What do you think about this?” I’d say, “I don’t really like it but it’s fine.”

―― Must you say that (lol)? But it seems to me that people who don’t get those notions can’t be in a band. Since there are also people who will create entire tracks on their own and think, “If I can play everything on my own I’d be my own band, though.”

I: Such people definitely don’t (belong in a band) (lol). But really, in the beginning, I was that sort of person too. I’d start composing the demo, put everything together on the computer, decide on how every melody should sound and say, “This part must not, cannot be changed.” That’s all I was like. I was really like that even up to just a few compositions ago, but gradually, I started to get moments that made me think that perhaps it would be more interesting if I loosened up a bit on that area. Also, when, for example, Anii gets a drum phrase wrong, I’d be like, “Ah, maybe sounds better that way,” and so on.

―― So, the singing changes a lot too? Compared to the demos?

I: It happens. Because Sakurai-san would mostly change what was initially sung in English into Japanese. When he does that, the vibe would definitely change, and when Sakurai-san picks up the notes in his own unique way, when he covers it the way only a vocalist can, he gets me saying, “Ah, it’s better like this.” I think, after all, a demo tape is just a demo and if we really do things in accordance to it, we won’t be able to go above and beyond. I guess we can’t just follow what’s there. Instead, I think we need to break it down a little or take a little out and loosen up so that we will be able to do even bigger things.

―― That’s also a kind of deviation, isn’t it? This might sound like a simplistic question, but why does Imai-san hate rules and lines* so much?

I: Nah, I don’t hate them. It’s more that I prefer to remove them. Because I sometimes do think that it can be interesting to be tied down by those and go along with it. That’s why I think, in the end, I guess what I’ve decided to do is to just ignore the rules.

―― What’s the best part of that, I wonder? I suppose it might be an exaggeration to compare it with the discovery of a new world, but I guess it’s the feeling of wanting to find something that has not yet been found by anyone else?

I: Ah, that, there is.

―― Or is it that you have a spirit that simply hates following a format and just wants to destroy that?

I: Ah. …… Nah, I think it’s even simpler than that. It’s just the desire to create something good, something cool. But it includes a feeling just like that “discovery of a new world” you mentioned which gets me wondering about whether I will find anything interesting. It’s vague, but that’s a thought I have all the time.

―― Right.

I: So I guess I do actually get that feeling. Of excavating something that has always been there and feeling like, “Ahh, I’ve found it.” It won’t be anything that I’ve come up with on my own. Rather, it’ll be something that was originally already there, and I’d occasionally manage to excavate it. Something like that. There are times when it feels like that.

―― So, you don’t come up with (music) in your own head?

I: Ah, of course, there are songs like that too. Songs which are shaped through my messing about. But also I think that there is a method of song composition which isn’t done like that; which is (done by) finding something or occasionally excavating something.

―― That’s the continuing adventure that the 5 of you are on.

I: That’s right. Also, while there are, of course, things that we need to spit out, we’re all making things, aren’t we? As creators. I think that every one of us have the mindset that we’re creating music as composers. I believe we’d stop if the thought of, “Ahh, this is troublesome, I don’t want to do it anymore” wins, but generally, we’re consciously writing music and lyrics, you know?

―― Everyone?

I: I think so. The other band members too, and Sakurai-san too. Everyone’s composing. Not that it comes naturally or automatically.

―― Even for Yuta-san and Anii-san who don’t compose music?

I: Yeah. Those two would first listen to what we give them and then they’d go into the studio and practice. Then, after they’re able to play or drum (their parts), they’d say, “What do you think about this phrase?”. And that’s when they compose. That’s how I think they keep creating. I also get the feeling that this probably wouldn’t happen if I was in a band with other people instead.

―― It’s because it’s the 5 of you that things are like this.

I: Yeah. Exactly, that.

―― It’s amazing that even now, this creative drive hasn’t stopped. When I heard that the band was going to take some time off after Locus Solus, I thought for a moment that you might start some other project or maybe Lucy would make a comeback.

I: Ahー, I didn’t think about that. Or rather, I didn’t actually consider taking time off at all.

―― Ah, I see. I thought maybe you got yourself refreshed in some way.

I: Nope…… Not really. Not in particular.

―― It’s just that when I consider the simplicity of Datenshi’s riffs, I thought, maybe, at the very least, darkness and weightiness isn’t what you seek now, is it? Less is better.

I: Ah, yeah. That’s right. That isn’t rock or anything close to rock, but (if we were to classify it) it’s more towards pop. I think I paid more attention to music that classify as pop songs (when composing), and even the lyrics too, they have a lightness unique to Sakurai-san. In the sense that I think that’s the sort of thing that he managed to put into them.

―― By the way, I heard that Sakurai-san was pretty depressed last year, though.

I: Ahh. Well…… There was a period when I thought that he kept silent for the longest time, though. But, well, not particularly. Around him, we just…… let him be.

―― Right (lol). But it indeed does sound like there’s a strong pop flavour in the song too. Especially at parts like the “Ah ha”.

I: Yes. Exactly.

―― Considering the melody of Luna Park too, can we say that “pop” is a hint of what your next release will sound like?

I: Well, I suppose. Yes. I believe we can deliver something really interesting.

 

 

Notes:

* The loan word “レール” (rail) was used rather than line but I used line because it doesn’t quite make sense in English to say “rules and rails”.

 

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Hoshino Hidehiko

Interview by: Kanemitsu Hirofumi

I guess, maybe I felt a sense of liberation within myself when I composed Luna Park?
It was a little before this, but I suppose I wanted to compose something that felt far out

―― Now, it’s just before the show at Yoyogi National Stadium First Gymnasium (note: this interview was held on 26 December), but to start, tell us about the response you’ve had so far for this THE DAY IN QUESTION tour.

H: It’s our year-end live show that we’ve consistently held for 20 years, even as a tour too. It’s something we’ve been doing consistently so I think we’ve been able to make it unique to this year too.

―― Rather than simply being chock full of nostalgic songs, I was left with a middle era impression. Or rather, that there were a lot of songs from your BMG Funhouse* days.

H: It wasn’t intentional but that’s certainly true. When we band members picked the songs, lined up our choices and then sorted them out, that’s how it turned out. In the beginning…… I think it was probably Yuta who suggested that we start with Muma-The Nightmare. He said, “We’ve never done that before so don’t you think it would be interesting?” We then made our selection based on that and this is sort of the kind of setlist we settled on.

―― What songs did Hoshino-san request for?

H: None in particular (lol). But Dokudanjou Beauty -R.I.P.- wasn’t part of the initial song selection, so I guess I suggested that. Also, I wanted to perform Snow white but Yuta also brought that up so it’s not as if I made any particular appeal for it (lol).

―― Even though it’s Hoshino-san’s song (lol). How was the year 2019 for you?

H: Well, it wasn’t a year when we were constantly on the move due to live shows, so it was sort of a year when our flow got switched up. In the first half, there were a few rescheduled shows we had to do, but after we were done with Locus Solus no Kemonotachi at Makuhari, it felt like a grand closure to the flow which we kept up until then. It had the impression of, “Alright, off to whatever’s next.” But, well, going on such a trajectory is something that we’ve imagined and scheduled since some years ago, right?

―― So, in other words, it was a year of actively working on production.

H: Well, I can’t really say that either (lol). 2 songs were presented for the single this time around, but both of them were songs which had been sleeping in my PC (lol). We decided for Datenshi to be the single so we were looking for a song which would couple well, and we thought that this one was suitable.

―― Do you have a lot of those stock music?

H: Nope (lol). Though I’ve got some riffs and bits and pieces of stuff in there.

―― Well, then what kind of impression did Datenshi leave on you?

H: I guess it gave off a bit of a new wave vibe. It’s not exactly pumping rock music but neither is it light. That part is what reminds me of new wave. Also, it doesn’t feel as if it’s being filled up (with sounds), but there’s a stronger nuance that (if there was just a little less) it would break apart.

―― Imai-san used the word “deviant” (to describe it). In the sense that this song excludes bass lines where one would expect it.

H: Yeah.

―― I suppose that means he’s looking for intrigue that cannot be found by following (music) theory but have you heard about anything like this prior to recording?

H: He didn’t say anything in particular when we were previewing the demos, but maybe that topic came up while we were having drinks after that?   In No.0, both the music and the worldview were built rigidly and it was a work that we can no longer add anything more to, so he wanted to do something a little more broken down next…… At least, I think that’s what he said. Probably. I can’t really remember (lol).

―― Why’s your memory fuzzy (lol).

H: Because we were drinking (lol). But because of that, this time around, we pulled back a little on the guitar bits too where we would normally go rugged on the riffs.

―― Meaning?

H: For example, during the interval, we raised the guitar bits up higher than usual around the middle to create a spaced out feeling and things like that. I think that these particularities which we applied in our production will only increase as we move towards the next album. Besides, Imai-san bought a weird effector and has been messing around with it too (lol).

―― Do you think that doing this will bring about something like a change within the band?

H: I do think so. I’m guessing that if we keep each of these areas in mind, we’ll be able to apply this to different songs so this might affect the album a lot. Whatever it is, we’re headed in that direction. I think it’s going to feel like everyone’s in step with each other.

―― But there’s also a completely unbreakable Hide melody in contrast to that, like in Luna Park.

H: You brought up the melody, but we didn’t have plans to include that song in the album, to begin with, because it was just a song that we thought would work well as a coupling. As something which matched Datenshi.   

―― Ah, so it was a song that you put out for the sake of balance.

H: Yeah. I guess, maybe I felt a sense of liberation within myself when I composed Luna Park?   It was a little before this, but I suppose I wanted to compose something that felt far out.

―― I see.

H: But before I put this song out, I had another that I had made a demo of up to its interlude, and I thought of going with that one but it felt too mid-tempo, you know? I figured that it wouldn’t match well as a coupling song so I pulled back on it and then brought Luna Park which had been sleeping in my PC.

―― Ah, you made that decision to reel it back yourself?

H: If I wasn’t told, I think it might’ve just gone out as it is (lol).

―― It’s just a balancer after all (lol).

H: But isn’t it of course that we want to do things well as a band?   Although, we do intend to release a bigger variety of songs on the album.

―― But it’s true that in BUCK-TICK, you don’t eliminate songs or remove (ideas) from your heads just because it’s “wrong”. You basically give it a try anyway.

H: You’re right. We don’t really…… do that, I think. Everyone thinks rather positively with the notion that it’ll probably get better when we try it out. So the responsibility placed on me is greater in that sense, but all I’ve ever experienced is the result of my songs turning out better than I expected. That’s why no one denies (any ideas). (There’s this sense that) if we do it as a band, it’ll probably turn into something interesting.

―― So, that’s why if you think that it doesn’t work, you’ll pull the idea back yourself.

H: Yes, exactly. Also, I’ve recently been around Cube-kun (Cube Juice) and Yoko-chan (Yokoyama Kazutoshi) and YOW-ROW-kun (GARI). So there are now more people around me who do manipulator work for us. Each of their musical flavour is different, so we don’t really get the same things from them, and there’s also a part of me that looks forward to the changes (to the songs) which come from them. There’s a lot of that chemistry these days.

―― Are you saying that in other words, you’d throw them something that will serve as a sort of base and they’ll do a bit of arrangement with it, put in the music and return it to you, following which you’d get inspired by it and that will give shape to the song?

H: That’s right. I guess you could say that’s the recent trend. It’s something I really look forward to.

―― Both of these two songs involved Cube Juice, right?

H: Yeah, it just so happens. Perhaps it was Cube-kun who wanted songs, though.

―― I see. This special issue will be published in 2020, but I’m getting the feeling that you more or less know your direction for this (2020) year.

H: Well, there’s also a large possibility that there’ll be a 180-degree change, though (lol).

―― Hahahahaha. But you’ll be doing lots of things this year, right?

H: Yeah. We plan to produce the album and go on tours too. I think it’d be nice if we could announce that at Yoyogi, though (note: they announced the album’s projected summer release and a national hall tour in autumn).

―― Definitely. And in your upcoming 3rd tribute album, it’s given me the impression that you’ve gathered an even more unique and interesting lineup than ever before.

H: You’re right. It’s the most varied one we’ve had so far, isn’t it?   There are quite a few female artists too, so that will probably bring about an impression unlike anything thus far. And there’s a wide range of genres too.

 

When I see the smiling or crying faces of our audience from the stage, I get reminded that this is why I do music
I get to see that this presence that is BUCK-TICK is so sought after by everyone

―― Are there any memorable songs for you?

H: Ringo-san’s Uta is amazing, isn’t it? People won’t normally go with such an approach; singing (our songs) in English and arranging it like that. It surprised me. Also, Fujimaki-san’s** song was nice too.

―― This also came up in my conversation with Imai-san too (note: the interview published in the February issue of Ongaku to Hito), but he said that there are 2 Fujimaki-san’s in this tribute album (lol).

H: Aah (lol). That’s true. Fujimaki-kun’s*** song was nice too, of course, but I’m talking about Fujimaki-san** who did Konayuki (lol). It’s only on occasion, but we meet for soccer so I thought I’d talk to him about this next time, but it feels as if the strength of that song comes through because he was singing while playing the guitar. I believe it’s something that one can’t do unless they have confidence in performing with that style.

―― This is an insight coming from BUCK-TICK’s acoustic master, huh (lol).

H: I thought it was really good. All the other participants carried it out in such unique ways and we wanted them to make the songs their way, so I’d say the album turned out really well. Listening to this made me feel once again that the merits of our band’s songs really stood out too.

―― That’s true. And you’ve also commenced recording work for your album.

H: Early, isn’t it? 2020 is an Olympic year too.

―― Are you going to watch the Olympics? (Lol).

H: I don’t think I can (lol). I’d assume that there’ll be a lot of people around during that period and I won’t be able to get around much, so I’d probably hole myself up and work in the basement. I think we might be going on tour after that too.

―― You won’t be able to go to the southern islands too.

H: I won’t be able to during that period, so I guess I’ll go after recording is done (lol).

―― You’re going? (Lol) But I believe you’re thinking of making this another solid year of activities for BUCK-TICK, right?

H: Yeah, for the second half.

―― I wondered if all of the band members might start getting the desire to do something that is different than the vibe they’d get from being in a band following the success of creating an album with as high a level of completion as No.0, but I’m getting the feeling that this isn’t the case.

H: Well, I don’t know about that. I would suppose that each of us has different thoughts, although it is true after all that we’d feel a sense of accomplishment after producing No.0 and performing our live shows. But I don’t think that this would be reason enough for us to feel like we want to try something outside of BUCK-TICK?

―― I do wonder why that is.

H: Hmmm, I wonder why.   Based on what I personally feel, that (lack of desire for something else) is the reason why we’ve been performing live shows like THE DAY IN QUESTION  for 20 years, and when I see the smiling or crying faces of our audience from the stage, I get reminded that this is why I do music. That is, in the past, whether we’re writing music or performing shows, it was mostly for ourselves. We would mostly do whatever we wanted to do at that point in time, so I suppose we were pretty egoistical, though. But seeing the audiences’ faces, realising that this presence that is BUCK-TICK is so sought after by everyone makes me want to share that space more and enjoy it with them.

―― I see.

H: My awareness of the band might’ve been slightly different in the past than now, but I will never ever get tired of this.

―― Those are strong words. I suppose we can say that whatever you’ve built up with the fans has become a strong motivation for you.

H: Yes, yes, exactly. Personally, I guess I want to see the faces of people who come and watch us. I’ve somehow come to feel that way, you know. Like, “Ah, I want to see them again. That was fun.” I feel that this is the kind of relationship that we have right now.

―― That’s a great story.

H: And that’s the moving tale that I’ve come up with (lol).

―― Don’t be shy, now (lol). Well then, I guess it looks like there won’t be a Hoshino Hidehiko solo anytime soon.

H: There’s no chance of that anymore.

―― Y-you made a vow (lol).

H: I didn’t, right? Surely (lol). I don’t feel any motivation towards that. And I think that’s the same for everyone now.

―― Indeed. I can feel that the unifying force within this band of 5 has grown even stronger after No.0. Like a strengthened resolve that you 5 will make things work no matter what happens.

H: That sums it all up. I don’t think there’s anything else aside from this, and I guess this alone is enough to keep us all filled. I suppose it’s important to direct our energies outwards too, but I’m getting a little old for that, you know. Didn’t both Sakurai-san and I fall ill in 2019?   When I think about that, I feel that I’d rather give my all to working on what we already have and do the best I can. After all, I don’t know when I won’t be able to play as BUCK-TICK ever again.

―― I assume there’s a sort of a flipside to that.

H: There is. Well, it would be great if I had the energy to direct outwards too, though. Those who will leave us will leave us anyway (lol), but right now, I want to make sure that I do right by the band.

―― I can understand that. No one knows how long it can go on for, and that’s why you’re now exuding the desire to do whatever you can now while you can.

H: I think that’s precisely how everyone feels now. I’m not looking to confirm that this feeling exists, but I can sort of sense that everyone probably has that on their minds. The kind of sense you get from knowing each other for years (lol).

 

 

Notes:

* BUCK-TICK was signed to BMG Japan between 2000 and 2010, which changed its name in 2009 to Ariola Japan. BMG Funhouse is a subsidiary of BMG Japan.

** Referring to Ryota Fujimaki who covered Just One More Kiss. He covered Konayuki (粉雪) with ToshI (X Japan) in December 2019’s edition of FNS Music Festival. https://www.youtube.com/watch?v=0nipXhWb_Gs

*** Referring to Maki Fujii of minus(-), Soft Ballet. He worked on the cover of Keijijou Ryuusei with Chiai Fujikawa.

 

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Higuchi yutaka

Interview by: Kanemitsu Hirofumi

I personally feel that there’s still a lot more we can do when it comes to creating music among the five of us
This feeling that there is still a lot we can show off is very much alive in me

―― We’ll start by looking back on last year. So, Locus Solus no Kemonotachi happened in the first half.

Y: Yes. Locus Solus wasn’t an album tour and neither was it our usual THE DAY IN QUESTION, so we started by coming up with a different title before we brainstormed. We also got to perform our new songs, so I think it was a great show.

―― There were some firsts too, weren’t there? Like performing your encore set at the centre stage, and that unbelievable pro-wrestling style entrance.

Y: Pro-wrestling style entrance (lol). That stage extension was pretty long, wasn’t it? And playing in the middle with everyone was fun too. Gathering there and squeezing together, we were even closer to each other than we’d usually be in our rehearsal studio (lol). We really haven’t performed together in such a small space in decades, so it was somehow nice in a way.

―― That space was probably as small as the studio you used in your early days, right? Do you remember those days?

Y: Ahー, Koenji’s…… I wonder if it’s still there?   PAL Studio*. But I also think it’d be nice if we could do new things like these going forward.

―― Though, I’d expect that it can be stressful to do something for the first time or challenge new things.

Y: Yeah, well, but I want to do more of what we’re capable of. Because even I can feel that there’s still a lot that the five of us can do together, and that our live performances are only getting better and better. That’s why I want us to do more and more together.

―― You’ve come to realise that for yourself and can proudly say it here too. This is nice.

Y: After all, we’ve come all this way without stopping. Especially considering that I started out having only played bass for a year or two by the time we debuted. Keeping at it, I more or less grew to understand how to play well, but that’s not the focus of what I’m saying. Now, when the five of us come together and make music, I can distinctly feel that we’ve gotten good. That’s why I feel that we’ll only get even better. Yeah…… Although, it certainly is weird for me to say that myself (lol).

―― No, that’s a good thing. Doesn’t it often happen that it becomes difficult to see how else you can grow after doing the same thing for so many years? And instead, (rather than that,) you’d be thinking about your physical limitations first.

Y: No, well, it’s because I personally feel that there’s still a lot more we can do, you know? In terms of expressing something or creating music with the five of us involved. This feeling that we still have a lot we can show off to the people who are always waiting for us is very much alive in me.

―― You’re putting emphasis on “the five of us”, aren’t you?

Y: Yes. Isn’t BUCK-TICK made up of five people anyway? (Lol). Of course, we do have the support of our staff, but it’s always been the five of us going through all sorts of experiences together. The laughs…… Well, there weren’t many tears, but there were a lot of fun times. Even during our tours or rehearsals, we still get that same feeling when the sounds made by the five of us come together for the very first time. It’s not (the kind of feeling that) gets us grinning, but there’s a comfortable tension.

―― Is it something similar to the moment when high school students enter a studio and sound their instruments?

Y: Yeah. (It happens whenever) we do something together or play together. Would it be weird to say that this in itself brings me joy?   I really enjoy it. I can’t quite explain it well, though.

―― It’s amazing that this hasn’t turned into a monotonous routine to you. Such feelings don’t last that long between a married couple, for example.

Y: As you’d expect, it’s because our composer Imai-kun has a lot to offer. And usually, there’d be things that I have to study up on too. That’s why, although it might be dependent on the song, the thought that something is a bore has never crossed my mind.

―― So, for this single’s Datenshi, what did you think of it when it first came up?

Y: A rock-flavoured song. In the demo tape stage, Imai-kun filled in the vocals so that (version) had quite a strong rock-flavour to it. And I thought it’d turn into something pretty good once Acchan sings it.

―― I heard that the initial candidate for the single was something different.

Y: Yes. It’s a slightly milder song, but when it came to deciding which we should release first, we went with Datenshi. Well, although Hide wrote a song too, (we went with this decision because this song is one where) Imai-kun wrote the music while Acchan wrote the lyrics. I believe, after all, that’s the image which the songwriter and the lyricist have when they think about what it is they want to put out at this point in time. So, I suppose in a way, (we’re making the decisions) according to that.

 

―― By the way, how do you see Imai-san as a composer?

Y: ……Vague.

―― Vague (lol).

Y: He always says, “Like this,” but he’s only got a skeleton of things like the bassline done, so when I change a certain part some way I like, he’d say, “Okay, okay.” He doesn’t really push for things to be done according to the demo he made himself. Maybe rather than that, it’s more about (composing) it together and expanding it to him. That’s why I say he’s vague.

―― I see. I haven’t asked everyone but the original demo is rather different than what goes on air, right?

Y: Exactly. Basically, the impression it leaves is different. After all, the bass is the part which gets recorded first, so with every song, I’m always wondering, “How will this song end up sounding?” This single’s Luna Park was (initially) completely different too. In the beginning, it was a British-sounding demo tape. Once the vocals and music were added in, the image of the song changed a lot and brightened up a lot.

―― Ahh, that electropop programming wasn’t there in the beginning, was it?

Y: It wasn’t there at the start. I think Hide probably did that through a manipulator’s mastery, but I really thought that it became very pop.

―― Does such a thing often happen?

Y: Yeah. It’s also because Imai-kun would steadily make changes along the way. Even though he’s the one making the demo tapes, he’d more often than not add in something completely different midway. It might sound strange when I say it like this, but this is why it feels as if the song gains its soul the very moment Acchan sings it. At that moment, I’d get that sense of “…… Ohh!”

―― I’ve got a weird question, but, have you ever thought, “What an awesome band I’m in”?

Y: Mn!   That’s…… Nope, I respect them, but “awesome” has never crossed my mind.

―― But I think that a tag team like Imai-san and Sakurai-san isn’t something that can be found in just any other band, and there’s really something quite miraculous about it.

Y: Hmm. But we’ve been together since we were in high school, and I was even their junior too (lol). I don’t really think about those things. From then until now, nothing has changed. For example, back in high school, Imai-kun would tell me, “I’ve got this sorta music, I’ve got that sorta record,” and he’d let me listen to indies stuff that could only be procured in Tokyo in those days. I guess you could say that’s something which still goes on even now. It feels as if he’s a~lways telling me, “I’ve got something good.”

―― And that’s something which still interests Yuta-san even now.

Y: That’s right. And I’d be like, “Whoa, that’s amazing!” That’s why things haven’t really changed between then and now.

―― Though, now, I can’t quite imagine what Imai-san was like in his high school days.

Y: He was someone who didn’t talk much. Although, I guess all of us are the same in terms of not talking much. Hide isn’t the type to be all loud and rowdy anyway, and Acchan is even quieter than either of them.

―― When the five of you came together as a band, did a chemical reaction occur right off the bat?

Y: That’s right. Good vibes. Well, that was after we moved to Tokyo, though. After Acchan became our vocalist, the vibe changed. Ever since then, we’ve been performing with that same vibe, so I guess that’s why I enjoy it.

―― But that feeling that you’re getting better and better, I suppose that’s probably something that everyone feels too.

Y: Yes. Probably. We won’t say it out loud, though. But I think that those who’ve been watching us all this while probably think so too. Our band has definitely become better than we were before, and we want to be even better. Because we have so many people supporting us and coming to our shows, it makes us want to make it even more powerful and have everyone enjoy themselves even more.

―― I get this feeling that the ‘circus’ image is what you’ve firmly settled on in recent years.

Y: Kind of like a show; something that entertains, right? But that’s why it’s not simply about getting the audience into it. I guess as artists, we have a lot of songs and there are many different approaches (we can choose from), but in the end, (the response) we want to hear in the end is, “That was fun.” And also, things like, “That got me thinking.” I can’t really express it well in words, though.

―― Because it’s not just about entertainment that brings a smile, right? In the end, you want everyone to truly enjoy this world (of yours).

Y: Exactly. After all, we five members definitely have this desire to entertain.

 

If I was asked, ‘how far can you go?’ some decades ago, I’d be able to respond with ‘forever’ but
The older we get, the more it makes us think about things…… But I’d like to keep doing this for as long as I can

―― And among everyone, the one who smiles the most during shows is Yuta-san.

Y: That’s right. Because I think that if you feel great during the performance, you should feel free to smile. I think everyone naturally shows what they personally feel. Of course, I can’t laugh frivolously when it’s a surreal tune, though (lol). That’ll just make me a nuisance, so I’ll try to interpret it in my own way.

―― I think Yuta-san who has a wide range of connections across various genres and has done a serialised publication in support of Hanshin** has been actively doing things that are uncharacteristic of BUCK-TICK’s image.

Y: No, no, I’m actively being asked to do all of this (lol). Editor-in-chief Kanemitsu*** is making me do this. Although, I’m also (thinking, I’ll do it) to at least represent BUCK-TICK.

―― “At least”, you say (lol). But BUCK-TICK is completely detached, and you don’t have any obvious followers too. That’s why I feel this makes Yuta-san’s existence a cheerful window (into the band).

Y: Ahh~. If you say that, you’re (heaping) responsibility (onto me).

―― It’ll be fine since you have this smile of yours. It looks contrived anyway if everyone (in the band) has the kind of face that makes it feel you’re all in the demon world.

Y: Ahh, well, we had made those faces when we debuted. Glaring as if saying, “No laughing at us, don’t take us lightly!” But I think as we went along, we began to find our own style that is unique to us.

―― When did that start to change?

Y: Probably just a little bit before 2000. It just gradually changed within us. Maybe it was around the time of “ONE LIFE~”, just as we entered our Ariola (era). It’s not as if there was any particular event which made us change, but we got the sense that we can do what we want to do. That we should have more fun doing this.

―― Would you say that things became easier?

Y: Probably. Rather than easier, you could say we began to feel that we can express (what we want to) without creating (that sort of impression). Although, we don’t really do that much anymore anyway.

―― That’s true. When I think of the past, I get this image that makes it seem like no one (in the band) eats or uses the bathroom at all.

Y: …… If we don’t eat, we’ll die (lol).

―― At the very least, I couldn’t imagine you living a normal life at all.

Y: Ahh, we’re normal, though, right? Well, if you compare (us) with normal bands, there are those who (make their hair stand up) like this too, and there are also those who are always silent (lol). But I think that’s simply because a lot of us are shy and quiet people.

―― But can shy and quiet people endure on that stage?

Y: Mm, it feels like a switch gets turned on and I think this goes for us too, though. Although, it’s not as if we’d be in the wings going, “Let’s do this!” or, “Yeay!” and all that.

―― Hahaha. If you did, that’d be scary.

Y: We’re relaxed, though. But the moment we go up on stage, everyone suddenly snaps into gear with a “Bang!” I think that’s how it is for all 5 of us. Because this has already become the norm for us.

―― And you’ve been doing this for more than 30 years. It’s stunning.

Y: Mm… But you could say our 30th anniversary was more like a checkpoint. Like, it’s something that we’ll definitely get to as long as we keep at it. That’s why we’ve been thinking about what’s next and what comes after that since the year of our 30th anniversary. It’s quite common, isn’t it? Situations where a band’s members’ emotions which hit a climax on their anniversary and then start to wane after that, ending up with them doing nothing.

―― The typical anniversary waning (lol).

Y: Exactly. I’m also trying to avoid that personally. Which is why we did Locus Solus and also held the DAY IN QUESTION tour last year, and I thought that it was great that we didn’t slacken off. It’s like the feeling that if we keep this up, we’ll be able to carry these feelings over into the new year.

―― Although…… You only released one single in 2019, didn’t you?

Y: Oh, that’s right. It’s true. That’s why I’m thinking that in 2020, I want to first make our album something great and then go all around Japan to where fans are waiting for us. We didn’t do that many shows last year anyway. And besides, I believe it’s such a joy (for fans) when the band comes to the city where you live, isn’t it?

―― How’s the current stage of production?

Y: We’re at the stage where… our manager is asking us to please save up songs for the album.

―― Hahahaha.

Y: Imai-kun says things like, “They’re always on my mind.” Although, we always ask, “Where?” Like, are they in his Mac, or are they not in there yet…… I’ve no clue about that (lol).

―― I’ll be looking forward to your summer album. Also, I assume this is something that you’d have been asked numerous times in recent years, but do you think about how long you can do this and how far you can go?

Y: I don’t know, though. …… But if I was asked something like this some decades ago I’d be able to respond with ‘forever’, but you know, the older we get, the more it makes us think about things, so although I want to say forever, I also know that it’ll all end if (I) die after all. But I’d like to keep doing this for as long as I can.

―― Is it scary to think about the end?

Y: Mm, well, it’s almost as good as asking, “Are you afraid of death?”, isn’t it? But (if we’re afraid of the end), the band might end up becoming strained and all that, you know. Yet, like I said earlier, I know there’s still more to come going forward, so as long as I still feel like that, I want to keep going on.

―― Do you have an ideal ending?

Y: Ideal?   ……… Uh…… I guess, it’s to end without disbanding.

―― Disband…… Are you going to do that now?!

Y: It gets people thinking, “…… What?” Doesn’t it? (Lol).

―― More like, “What the hell are you saying?”

Y: Or rather, “Huh, why make such an announcement when you could’ve just kept quiet?” For sure (lol).

 

 

Notes:

* PAL Music Studio in Koenji, Shinjuku.
Source: https://duck-walk.blog.ss-blog.jp/2008-09-15
image

** Hanshin Tigers; baseball team. 

*** The interviewer.

 

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Yagami Toll

Interview by: Kanemitsu Hirofumi

No matter what type of song we play, it’s always being described as uniquely a BUCK-TICK song
But this is because of the honest work that the band members have put in throughout the years without growing conceited

―― The year-end THE DAY IN QUESTION has concluded. How was it, holding your final at Yoyogi National Stadium First Gymnasium for the first time?

T: Shall I make this clear?   It was the first time in a while that I messed up so much. Even I was shocked. Like, “Whoa!   I’m so tense!”

―― Was that because it was your first time performing there?

T: Yeah. That venue was a first for us, and the pressure from the audience was incredible too.

―― Because the ones right at the back were pretty far away from the stage, weren’t they?

T: I’d guess it was difficult for them to see us too. The acoustics too, it’s pretty tough (to get right) since (the venue) was long sideways. But the condition of Acchan’s voice sounded great, didn’t it? I could tell with the in-ear monitors on. It’s the usual balance, but when he started singing, he could push his voice pretty low. In fact, when he did that, I thought, “Oh, he’s doing well”.

―― What concept did you have in mind when you were selecting the songs for the setlist?

T: This time, for me, I picked Aku no Hana and Jonathan Jet-Coaster. I figured we should play those kinds of fast-tempo songs while I still can (lol).

―― As a drummer, you mean?

T: Yeah. We put them into the setlist and I’ll practice to confirm that I can still perform them. When you watch old footage of songs like Aku no Hana, I didn’t use click tracks for any of the songs back then so the tempo was fast.

―― Now you’d use click tracks no matter the song, right?

T: The only exception would be Speed. Because it seems as if Imai would get uncomfortable if I drum that song too proper. For Aku no Hana’s final outro too, if I drum according to the click track, we’d go out of sync. That’s why I’d listen to Imai’s guitar and drum just for that last part. The nuances from those days have been ingrained into both of our bodies.

―― I see. But that was a great live show.

T: It was, wasn’t it? Despite my messing up (lol).

―― You seemed to be the liveliest one at the after-party too (lol).

T: I don’t really remember it, though. It appeared that we drank until 10 a.m. (lol). I get an adrenaline rush from performing live, so when it’s over and it’s all been released, I’d look like an idiot. And besides, since it’s the year-end, there’s an added sense of closure too (lol).

―― So how was the year 2019 for you?

T: There weren’t many live shows, but I’ve more or less practised consistently. I had my own solo activities too, and we started recording after September, so I didn’t really have time to waste. That in itself was good.

―― For drummers, you won’t be able to play well unless you drum every day, right?

T: Yeah. I mentioned this before in my autobiography too, but in the past, there was a period of time when the band was being suspended and we had no activities. Plus I couldn’t go out because there were tons of paparazzi so I didn’t get to drum for about half a year and (my drumming ability) ended up declining badly. A small percentage of geniuses may be fine even if they didn’t drum every day, but for someone like me, an average drummer, I have to work hard to make sure that this doesn’t happen. I’d ask for advice too. Kamiryou-kun (Kamiryou Wataru*) taught me some and that’s when I changed my drumming style to this present one.

―― Considering that you’re the senior bowing your head to a junior to ask for direction, doesn’t pride get in the way?

T: Not at all. Because to ask may be a moment’s shame, but not to ask and to remain ignorant is an everlasting shame. There’s also Bunta from TOTALFAT who’s about 30 years my junior but he bangs out ninelets without a problem, so I asked him to teach me with the V-Drums I have at home. I just stared and watched his drumming form (lol). Basically, if I’d like to take it in if I can absorb it.

―― That kind of effort is crucial, isn’t it?

T: That’s how it is for us all in this band. Although there are aliens like Imai too (lol).

―― Hahahaha. Well, then what did you think of your new song, Datenshi when you first heard it?

T: When I heard the initial demo, I thought that it sounded very Western. With the simple beat. But while listening to it, it felt as if there was something weird about it.

―― Because the bass was put in areas where it normally wouldn’t be, and at times it’d be removed.

T: I thought that approach was interesting. Although such a hollow feeling could turn out badly if there wasn’t a good (music) sense behind it, Imai can do it just fine, so it’s alright. Once again, this round’s demo for Datenshi made me think, “This guy definitely ain’t no regular person.” The music may sound empty but impactful phrases will hit you.

―― And that beat is very fresh, isn’t it?

T: For me, as a drummer, it was great. Luna Park was actually more difficult. It’s subtle, so I had to use a snare which was made in 1910. And made of real leather too.

―― A vintage you own.

T: In the past, I used it for Tight Rope and I broke it on the first hit. Since it’s made of real leather, it doesn’t last too long before it breaks. So I had to drum gingerly, very carefully (lol).

―― Did you get the impression that Imai-san was doing something new with Datenshi?

T: Rather than that, Imai’s demo sounded like a Western song in the first place so I couldn’t really tell (lol). (It was only after) Acchan sang, then I got the sense of, “So that’s how it goes. It got better.”

―― I see.

T: There’s a good balance. We even recorded 3 songs this time though; Datenshi, another nice mid-tempo song, and Luna Park. So it’s good because we have Hide’s songs too. Age-wise he’s younger (than Imai), so there were no clashes nor any obstinacy (with regards to switching his song for Imai’s Datenshi). I do wonder if things would be different if Hide and Imai were classmates, though. But (based on) his character, he isn’t the type to be driven by ego anyway.

―― That’s true. I guess you could say that he’s suited to writing songs for the band.

T: You see, no matter what type of song we play, it’s always being described as uniquely a BUCK-TICK song, but this is because of the honest work that the band members have put in throughout the years without growing conceited. If not for that, I don’t believe we could have found ourselves here.

―― What does Yagami-san personally think is the reason that you have been able to keep going without growing conceited?

T: Because those around us don’t let us (lol). If we get cocky** we’d get smacked.

―― So, if you stick your nose up too high, they’ll break it*** (lol).

T: I think there was a time when I was on the verge of becoming like that, though. But when I was in my slump, I could feel the members’ feelings and how they put up with me and supported me, so after that experience, there was no way I could become conceited. In my case, there was a period when a lot of things were going on in my private life and that dealt a huge blow to me mentally. It wasn’t that I was lacking in physical strength or anything, but I was mentally worthless. I think it must’ve been really tough for all those who stuck by me during those times.

―― In other words, you were unable to have a positive outlook about the band.

T: Yeah, I couldn’t. I had no motivation, I wasn’t at all happy with the way I drummed, and I even felt that it might be better if I wasn’t a part of the band. For real, from my early to mid-40s, I was afraid of being on stage. I was really terrified.

―― So this was around the time of Mona Lisa OVERDRIVE?

T: Exactly. It was awful back then. I kept thinking maybe it was time for me to quit, that it was a good time for me to go. Our manager and Yuta kept nagging (lol) at me for that, so I started going to the gym, changed my form, changed my drum sticks too. I tried out all sorts of things. Whatever I could easily do in my 20s and 30s I could no longer after I turned 40. It even got me feeling that maybe bad years^ really do exist (lol).

―― But you were able to shake it off and reset your emotions.

T: Yeah. The members waited for me with the feeling that (the band) can’t do it unless it’s me, so those bitter thoughts gradually went away. I guess it’s the same with age. As in, since we’re nearing the end, there’s no point in grumbling about the trivial things (lol).

 

I’m turning 58 this year, so every single moment, be it our live shows or our recording sessions, becomes precious
I’d only think about what I have to do to keep playing in the band, what should I do to bring joy

―― Come to think of it, I noticed that your drum solo, too, has gradually changed.

T: That’s right. I believe anyone can tell if they look back on our film releases or something, but in the past, I wouldn’t hit the cymbals with my bare hands. Because, you see, I felt that it’s tacky if I were to do exactly what John Bonham (Led Zeppelin) did. In a sort of not-daring-to-do-it-because-I-like-it sense. But I thought about it, and I came to feel that since I was influenced by him, it’s probably better to show (that influence). Like, if I was the audience, I think I would prefer to see me do it as it is instead of accommodating to my strange particularities. And that’s why I do it with this present style that I have. Besides, it’s probably weird for me to close things off without showing (that influence) at all.

―― Similarly, I’m also getting the feeling that all 5 members of your band can sense somewhere that the end is nigh and when everyone performs with that awareness, your bond grows stronger, doesn’t it?

T: That’s bound to happen when we grow old (lol). My father passed away at the age of 70 and taking that into consideration, I’m turning 58 this year, so that means that I’ve only got 12 years left. When I count backwards like this, every single moment, be it our live shows or our recording sessions, becomes precious. And rather than fretting about the details, I’d only think about what I have to do to keep playing in the band, what should I show (our audience), what should I do to bring joy.

―― Although Sakurai-san had a slightly different view of it, he spoke about something similar with regards to age, didn’t it?

T: I think everyone thinks the same, but I think if any one of us can no longer perform, this band can’t go on anymore.

―― So, more like Led Zeppelin after all than the Who.

T:  Because BUCK-TICK isn’t a business, is it? (Lol). Although, I think something similar to Zeppelin’s Coda^^, a release which sort of says, “Everyone, this is goodbye,” can be done even if any one of us isn’t around.

―― I see.

T: Because in rock bands, it’s not a matter of whether you’re good or not at singing or playing an instrument, is it? I say this a lot, but we’re the ultimate amateurs, you see. And this nuance of ours can’t be brought out any more if we’re missing even just one of our members. Look, there’s no other guitar player like Imai anywhere else, is there?

―― I don’t suppose so (lol).

T: They say this about him often, don’t they? Even though Imai actually belongs in the “poor” category of guitar players, don’t you wonder why people call him a genius? It’s because he’s one of a kind. It’s because he has a uniqueness that cannot be replicated by anyone.

―― Because this is the only place where that uniqueness comes into play.

T: There are loads of people who can play in time with the metronome properly. But (he’s the one who goes), timing? What’s that? (Lol). And that’s BUCK-TICK’s groove. I mentioned it earlier, didn’t I?   That nuance in Speed and Aku no Hana isn’t something that can be produced if it isn’t Imai and these band members playing it. This is something that I’ve only understood now. I’m glad I didn’t quit (lol).

―― Please say this to all the distressed band members (lol).

T: You’re prohibited against quitting your band! (Lol). Anyway, the punk genre has always been a gathering of people who aren’t good at anything from the very beginning. So if you keep at it, that’ll become your unique characteristic!

―― Compelling (lol).

T: It doesn’t only apply to bands, but to everything too, right? Theory is boring anyway.

―― Well, these days, the main platform (for music) to be listened to is YouTube or some sort of subscription service, so the theory is that you won’t be able to sell well unless your intro before the song is short and you cut out the guitar solo.

T: Even if that were true, it then begs the question of, “You may sell well, but are you having fun doing that?”

―― Indeed.

T: You may call it a gut feeling, but I think that no matter what you’re doing, what matters the most is your motivation, your complex, and who you’re doing it with. Because that’s how it is for us. We wanted to do this with these 5 people even though we were criticised mercilessly when we first debuted. (It also worked out) because the band members waited for me even when I wasn’t sure if I could do it any more. And thanks to that, I learnt humility and didn’t become conceited.

―― That’s true. When I listened to the tribute album, it was clear that (BUCK-TICK is) band unlike any other. Including what you’ve just said.

T: For me, I genuinely want (the participating artists) to take apart (our songs). I’m already grateful for their participation in the first place, but if I were to say what I really desire, it’s for them to destroy it all and turn it into a form of contradictory respect. Because that will become references for us. You see, back in the day, when we did karaoke, we didn’t use recorded playbacks. Instead, we had people playing (the music). Studio musicians would be playing the drums. I’d listen to those nuances and steal from them instead (lol).

―― And that’s humility, isn’t it? Because you won’t deny (their versions) and say that it’s wrong.

T: On the contrary, isn’t it one way to learn and realise that there’s another way to play something too? This is the style that BUCK-TICK’s music production has developed, so I felt that it’d be weird if there’s no quirkiness in this band’s drummer after all.

―― What does Yagami-san want to do in BUCK-TICK in future? Or, what would you like the band to become?

T: I want us to become sharp old men. 

―― Sharp old men (lol).

T: The type who gets noticed by the youngins (lol). I want people to say, “They’re amazing,” even though we’re old men.

―― And for that to happen, health comes first.

T: Come to think of it, I haven’t gone for any health checkup recently (lol).

―― Please go!

T: But I haven’t had any symptoms (of illnesses) at all, see (lol). Look, I’m even drinking until 10 in the morning.

―― That’s not the point.

T: Yeah, yeah (lol).

 

 

Notes:

* Support drummer originally of GRASS VALLEY and then SOFT BALLET. Other notable associated acts he has been involved with are P-MODEL, Kikkawa Koji, cali≠gari.

** The actual phrase is “天狗になったら” (tengu ni nattara). Literally: “If (we) turn into Tengu”. Tengu are long-nosed goblins in Japanese folklore.

*** This time I used a literal translation that references the English language of “sticking one’s nose up in the air”, which is a figure of speech to describe haughty behaviour. The “break(ing)” part of the translation also alludes to the Tengu imagery from the phrase Toll used in the last line. On the whole, the phrase “鼻を折る” (hana wo oru / lit. break a nose) basically means to humble a person’s pride.

^ “厄年” (yakudoshi) loosely translates into “bad/unlucky year”. It is generally known as the ages of calamity differ according to gender; 25 and 42 for men, and 19 and 33 for women.

^^ Coda is a rarities compilation album by the English rock band Led Zeppelin. It is a collection of unused tracks from various sessions during Led Zeppelin’s twelve-year career. It was released in 1982, two years after the group had officially disbanded following the death of drummer John Bonham. The word coda, meaning a passage that ends a musical piece following the main body, was therefore chosen as the title. (Wikipedia)

 

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PARADE III ~RESPECTIVE TRACKS OF BUCK-TICK~

 

TALK SESSION:
Higuchi Yutaka (BUCK-TICK) ✕ TOSHI-LOW (BRAHMAN)

text by Ishii Eriko
photographs by Sasahara Kiyoaki (L MANAGEMENT)

 

For real, all the bands who stand out from the rest
possess the resolution that, “If we’re going to do this, we’ll be number one at it.”
I think that in the end, this is what truly makes a band (Higuchi)

With the utmost respect for the band known as BUCK-TICK, BRAHMAN have fed listeners an intense counterpunch with a cover done their way. Out of this comes a peculiar conversation between TOSHI-LOW, the frontman with the nickname “Oni*” and bassist Yutaka Higuchi. What brings them together despite being completely different in terms of character, generation, and the music scene they grew up in?

 

Although the bassline remained the same, they managed to come up with something so different
This just says that the power this band possesses is very real (Higuchi)

―― Yuta-san’s, “I want to meet TOSHI-LOW-kun,” led to the planning of this interview. Was the first time you met at 2017’s Arabaki**?

Yuta (Y): Yes.

TOSHI-LOW (TL): No…… The actual (first encounter) was about 25 years ago.

Y: Eh?

TL: You know, at Shelter***, when THE POGO’s Ryota had just started JIGHEAD*** in their early days. That was BRAHMAN’s first live show. 

Y: …… Wha――at!

TL: That was the summer of 1995, so it really was BRAHMAN’s very first show. Of course, you weren’t there to see (BRAHMAN), but we were at the afterparty.

Y: ……… Whoa, that gave me goosebumps (lol). Amazing. I remember that. Ryota-kun was there.

TL: JIGHEAD went bass-less a while after that, but back then, the bassist was around, some flashy guy wearing a sun visor. That person going involved with a woman or something and a huge fight started but it was stopped with the casual, “Stop it, stop doing that.” (Lol).

Y: Hahahaha!   But I can clearly recall talking to Ryota-kun. We debuted with POGO in the same period and also performed at Shinjuku Loft and so on together.

TL: I’ve thought since then that (Yuta) was such a nice guy. I think I was someone who didn’t trust anyone at the time so I was very mean to everyone I came into contact with, though. But (Yuta) was suーper nice. Let me say this first; I’m glad (for that).

Y: …… That gave me chills (lol).

―― I’m sure you knew about BUCK-TICK’s existence since your early days.

TL: Of course. Although, their early days’ JUST ONE MORE KISS and Aku no Hana, and Speed was as far as that knowledge went. But that’s because my interests drastically shifted away after that. Though, RONZI (drums) liked them a lot. I always thought that we have no connection with each other and going from that perspective to now having this bring us together makes me nervous. You see, when talk about the tribute album reached me, I even thought, “They definitely made a mistake when choosing artists, right?” (Lol).

Y: Nah, but I run a blog too, and I often receive emails but (upon the release of the news), I had a ton of comments along the lines of, “I’m so happy that BRAHMAN is on board.”

TL: Ah, thank goodness. But on our end, we really had a lot of seesawing back and forth, though. It was first RONZI who decided that our song choice would be ICONOCLASM. “For sure,” he said. But it wasn’t a song I knew so I listened to it again and this song…… This song is a very difficult one to play, isn’t it (lol). We can’t do anything with the arrangement, right? This vibe goes on and on, and that dispassionate detachment is where its appeal lies, so if we mess with that, the song will be destroyed. And to add to that, RONZI said that he didn’t want the bassline to change and MAKOTO (bassist) agreed as well. We tried our best to do this cover while keeping the bassline intact, but it only resulted in our song sounding like a mere copy. So, at that point, I decided to give Yuutan a call.

Y: Heh heh heh heh heh heh.

TL: Yuutan gave me his LINE. I think it was around October of last year. He said something like, “I’m really looking forward to it!” And when I showed (his message) to RONZI, RONZI said, “Oh shit…… We’ll have to rearrange it and do it all over again……”. So, then we started back from square one again. We also figured that if you’re inviting us to take part in this, you’re expecting us to present something that’s been done our way.

―― Ah, so in the beginning, you just read the lines out quietly as they were?

TL: I just read it monotonously, without intonations. I decided to risk doing it with a mechanical sounding voice, but then it all changed from there. I figured that if this was our own song, we wouldn’t be doing it like this, so we tried bringing in more heat into the song. But it was difficult after all. Because only Acchan can produce those vocals, right? And even after we sent our song over, I didn’t receive any reply from Yuutan for the loooongest time. I was freaking out (lol).

Y: No, but it’s not what you think! I already wanted to send my reply upon receiving the sound source, but I thought it might probably be better to do that after the mastering has been properly done. So I just kept resisting the urge (to reply). And once mastering was completed, I immediately sent the message.

TL: And I was just so anxious throughout that period. Like, “Ahh… Did we get the arrangement wrong after all…?!”

Y: No, no, no. To that, all of my band members and I were in total agreement that, “This will definitely be the first track!”

―― It sounds like you ended up experiencing a hit and split rather than getting to quit while you’re ahead (lol).

TL: I was dying here!   Because in fact, we worked harder on this than normal. Also, while we were working on the arrangement, I took the liberty to try and find some common ground (between our bands), but there are contrasts even within the band, aren’t there? For example, the music is pop although it may be dark, and even though it may come across as exclusionary, it’s actually very human. Because such front sides and undersides exist, it made me feel that it would be possible to execute this song with our kind of passion, and that’s what I put my belief in.

Y: Yeah. It was wonderful. Like you said earlier, the bassline remained the same, didn’t it? But despite that, they managed to come up with something so different. This just says that the power this band possesses is very real. Everyone (in BUCK-TICK) remarked that (the cover) was cool too.

TL: …… Thank goodness~.

Y: For real. I think this is the number one (example of what we’re hoping for) when we ask others to do this (with our music). It’s the same for all the bands who stand out from the rest. They all possess this one (resolution) that, “If we’re going to do this, we’ll be number one at it.” And I think that in the end, this is what truly makes a band.

TL: That’s what a band is all about. The music that is created by people who want to do music, those definitely have some sort of format, don’t they?

Y: Yes, yes.

TL: I listened to a lot of past recordings upon this time’s participation, but I found it very intriguing that somehow, what we sought was originality and novelty for ourselves rather than musicality. We’re better described as people who want to play in a band, rather than people who want to dabble in music. And that’s where my affinity (with BUCK-TICK) lies. We, too, don’t (create music) with the intention of writing good or sellable songs but instead, we want to find music that only we, only we 4 (BRAHMAN) can make.

Y: I understand that. There’s 5 of us (in BUCK-TICK), but that feeling of becoming one when all 5 of us come together is so very important. And also, not getting too personal with each other. That’s why I’d also go exploring for song arrangements myself.

TL: But it’s not as if you’re all disparate individuals. I felt that at the Arabaki afterparty too. You’re a band that’s been around for over 30 years, but it’s the after-afterparty and it’s already morning, you know?   But all the band members are there?   It went up little by little but in the end, the only ones left were me and the whole of BUCK-TICK. That was quite the sight (lol).

Y: That was fun. It was the first time in a long while that I was going home by bullet train, and I’m going home drunk too (lol).

 

Being in a band is already the goal and the ultimate form
That is what I can see in BUCK-TICK (TOSHI-LOW)

TL: But everyone (in BUCK-TICK) stayed all the way until morning, and you can see the relationship between the members from that, right?   I’ve always thought that we don’t really have any role models or textbook examples to go by, but I felt that there were things that we could learn from BUCK-TICK. Somehow, it’s as if the band is not a mere means (to an end), but instead, the band itself gives me a very happy feeling, and it makes things super cosy. So I ended up getting so plastered and at the very end I even got to kiss Acchan――.

―― They’re gonna kill you, TOSHI-LOW-kun.

Y: Hahaha. We really had fun drinking.

TL: Well, but Imai Hisashi slept the whoーle time.

Y: These days he falls asleep fast, you know. He’d even fall asleep when we’re eating (lol).

TL: But what I thought was most amazing was when we woke him up and told him we’re leaving, he said, “Already?” with the straightest of faces. He had been sleeping for 2 hours (lol). If we’d known each other a little longer I think I would’ve teased him with an, “Oy!” But everyone ignores it. I thought that was some amazing teamwork. No matter the angle you consider them from, they’re a great band.

―― And that’s not just because of the existence of a drummer, bassist, guitarist(s), and a vocalist, right? This “great band” that TOSHI-LOW-kun speaks of.

TL: Putting it simply, it’s where being in a band on its own is already the goal and the ultimate form. That is what I can see in BUCK-TICK. And even within this, there’s always something they’re pursuing. Their goal isn’t to use music to become rich or famous. I believe that’s why they’re capable of doing something groundbreaking every time and why they aren’t afraid of change. But that said, they’ve always cherished their past and the way things have always been since the beginning. I mean, (your band’s story) starts from your hometown, right?   From your stories in Gunma.

Y: Yeah. Talk about (our days in) Gunma tends to come up in conversation (lol). Since we’ve always been together since way back when, we’d be like, “That guy did this back then,” and, “Nah, that was decades ago.”

TL: The fact that you can still talk about your high school days even now is seriously amazing.

―― Also, in terms of common ground, the starting point (of both bands) is actually punk. BUCK-TICK originally started out as a cover band of THE STALIN^, right?

Y: Yes, that’s right. Imai-kun had (one of) their records. I think it was STOP JAP?   He told me, “This is good stuff,” and I said, “So cool!  A cover^^!” It was just right after I got my hands on a bass, but I figured, well, I can play that with just one finger, right (lol). You know, songs like Tempura (天プラ) and the like. And to that, everyone was like, “Let’s do this!”

TL: I bet Michiro-san was real happy about that.

Y: Michiro-san attended an event of ours’ during our 20th anniversary. And back then, we went on tour together in Kyushu too. We had a lot of fun, and he said he loved ramen, so we decided to go to a ramen stand^^^ to celebrate. And Michiro-san was so happy. In our band, all of us drink alcohol, right? So Michiro-san, he drank with us back then.

TL: I’ve never seen him drink before.

Y: Later on, we asked him, “Michiro-san, you usually don’t drink, though?” But he said, “Just one glass,“ and drank with us.

TL: …… So that’s what brought about his early passing…

Y: Ehhhhhhhhhhh!

TL: Like, you’d wonder, what if he didn’t drink back then (lol). There’s no way it would’ve made a difference, though. But that’s so nice. There’s that punk aura, isn’t there? I’m the one who didn’t go through the positive punk [goth] genre, but doing this cover, I understood that both our bands’ roots were never far from each other’s, to begin with.

 

Even back when you had to stop band activities, all your band members, everyone waited, didn’t they?
I think that this is what friendship is supposed to be
That’s why they’re a role model for these times
(TOSHI-LOW)

―― There’s also another common ground, which doesn’t really mean much, where the bassists of both bands are Hanshin⁰ fans.

TL: Yeah, that’s right. He goes all the time. If there’s a free day while we’re on tour, MAKOTO would definitely go to a Hanshin game. I think you two must’ve definitely passed each other by before.

Y: TOSHI-LOW-kun, you don’t like baseball?

TL: Not at all for me.

Y: But somehow, when Oh⁰⁰ and Nagashima’s⁰⁰ names show up in Oniben¹, don’t they? 

TL: Well, it’s just that I said if I were to make a character bento, I’d want to use aonori¹¹ to make Nagashima’s stubble. And that I’d use the number 3 to form the eyes (lol).

Y: When I read that, I wondered if you were a Giants fan. But I really enjoyed reading Oniben. For me, my father had aーlways made bentos for me. He’s already passed away, though.

TL: If it was back in the day, it’s really rare for a father to prepare bentos for his children, isn’t it?

Y: It might’ve been because Anii didn’t really get bentos made for him much. Maybe he made them for me because he thought that it would be difficult for me, or maybe he felt sorry for me. When I was in elementary school, the lunchroom got closed for construction, so ever since then, he’s been preparing it for me from 4th grade in elementary school until my 3rd year in high school.

TL: What?   Amazing!   Isn’t that obviously because Yuutan was more adorable than Anii?

Y: Eehhhhhhh (lol).

TL: I think from a father’s perspective, the youngest child is the cutest since they’re the smallest of all. But for him to have done that for such a long time, there’s gotta be some sort of love behind it, I’m sure. Otherwise, he wouldn’t do it. Hearing that from you now, it gave me feels. To prepare bentos occasionally is still easy, but doing it every day is really tough. I think your father probably had something in his heart he wanted to convey to Yuutan, and that he decided he would see through this.

Y: Ahh…… But I’ve never thought about what my father could’ve had in mind while preparing that until I read Oniben. Because back then, I thought it was only to be expected. So when I read it, I suddenly realised that my father must’ve been thinking about a bunch while preparing the bentos. But you’re amazing, you know, TOSHI-LOW-kun. BRAHMAN too; you’re all amazing. Your band has been putting out releases one after another, so I can’t really pose as your senior any more.

TL: No, no, no, I had such a great time listening to all your old stories you shared at Arabaki. Like recollections of your early days playing at Loft² and all that, I felt like I could listen to them until morning comes. In terms of era, I’m from the band-boom period, so it may be casual small talk to you all, but to me, all of it is precious. Imai Hisashi, too, he can be one of those opinionated characters now, can’t he? Like the sort to say, “Didn’t I say before that’s off limits!”²² on a gossip talk show. 

―― Hahahahahahaha.

TL: Even back when you had to stop band activities, the fact that you weren’t a band that broke up because of that is wonderful, isn’t it? Of course, I believe it was tough for the members, though. Come to think of it, that was during your first career peak, wasn’t it?

Y: We were really beyond busy at the time. Like, we were constantly in a situation where we would be producing our new album while still going on tour for our previous release.

TL: Wow.

Y: Our heads were already getting all messed up. With our hair put up, there’s no time to even let it down, so we’d sleep on high pillows³ for a little like warriors of the old days and then head straight out right after (lol). That’s why, although that incident wasn’t a good thing, I just think that our band was definitely headed in a bad direction. On the contrary, I guess you could say that making us stop once allowed us to properly shift back to normal.

TL: And all your band members, everyone waited, didn’t they? That’s the strength of a team.

Y: Instead, back then, we were worried, y’know, about Imai-kun. When we met him for the first time (since all of that happened,) he just clapped everyone on our shoulders going, “Mh, mh.” And I think there was even a part of it which turned into a sort of drive (which motivated us to get back up). Because we were in a situation where only our names were out there but we couldn’t appear in any form of media, and our promotional videos and all of that couldn’t be broadcast.

TL: I think that this is what friendship is supposed to be. Of course, things you shouldn’t do, you shouldn’t do, but (the band) didn’t simply cut that person off. Instead, you used (the incident) as a springboard and to move forward together once again. In that sense, BUCK-TICK is a role model for these times, aren’t they? That isn’t how things go at all nowadays. (The offending party) simply gets beaten up and discarded and that’s the end of it. Maybe it’s a sign of the times?   My generation and those a little older than us, I think, definitely have a stronger sense of camaraderie. For better or for worse, there’s some “biker gang” left in us, so we’re people who will never do something like sacrificing one person while everyone else runs away scot-free. I think that’s how it should be even now.

Y: Because we’re all from the Showa era, right? And really, we grew up watching Showa era bands too. We’re of the generation who happened to get to watch Japan’s rock scene getting cooler and cooler. So I think that’s the root of it all for us.

TL: But even with that foundation there, you still keep bringing in new things, don’t you?   If even your foundation changes, then you’d be simply going with the times, but say, for example, if you were to try playing The Stalin’s music with present-day equipment, or if you did it with music programming to see how it would turn out, or something like that, I get this really strong “BUCK-TICK” feeling. That’s why (you make) outlandish music, right? But there are a lot of eccentric parts, and although it’s experimental, it’s also music that is universal.

―― On the other hand, what does BRAHMAN’s music sound like to Yuta-san?

Y: It definitely leaves the impression of heavy rock and punk music. I’ve been invited (to their live show) once. Actor Katsumura (Masanobu) -san asked me to go and watch a BRAHMAN show with him and Sugimoto Tetta-san³³.

TL: Ahh, come, do come.

Y: Actually, I did ask him along too. But I couldn’t go because of work. Even now I feel like I’ve missed out. I definitely want to go to your show next time.

―― To add to that, by all means, please do perform together next time.

TL: For me, anytime. I really want to perform with you together in a band. But…… I guess I might end up showing the fans hell again (wry smile). Because we’ve done that before at Lunatic Fest, y’know.

Y: Did you mess up or something?

TL: Nah, it’s more like the discomfort, on the whole, was overwhelming.

―― Probably because you rudely stepped on the SLAVES⁴ (lol). Now, during BRAHMAN’s shows, TOSHI-LOW-kun leaps into the audience and stands up with his feet set apart on people.

Y: I know, I know. When I saw the pictures and the videos, I thought, “This…… What’s going on here?” Are you standing on their shoulders with that post?

TL: Uh, nope, anywhere will do.

Y: Anywhere (lol). You’re standing in a sea of people, right?

TL: Yeah. I wonder if I could do that and piggyback Acchan. I guess it might work if I can piggyback him.

―― Everyone will be supporting that, with all their might (lol).

TL: Indeed. Both of us are creatures of the underworld, but I’m of a lower rank (lol). Because our statuses are different, you know. An “Oni” is definitely ranked lower than the Demon King, right?

Y: But I most definitely want to perform with you too.

TL: Also, I might be pushing it with this but I’d be glad if you’d come to New Aco⁴⁴ too.

―― Ahh. Have the acoustic BUCK-TICK take part in New Acoustic Camp⁴⁴. That sounds great. I’d like to see that someday.

TL: Their melodies have always been elegant, and they’re really universal and beautiful. So I think their music would really sound great acoustic.

Y: When we previously performed (some songs) acoustically, it was really great. We normally have a variety of synchronicity, but (for that performance) it really felt like all 5 of us was breathing in sync. Also, I could really feel the audience’s breathing too. Yeah, I like that. If there’s any opportunity, I’d like to do that again.

 

Notes:

* I thought of translating “鬼” (oni) into ogre or demon, but I think it works better if I just leave it as “Oni”.

** BUCK-TICK only performed at Arabaki Rock Fest in 2018 so maybe they attended the 2017 one on their own as an audience.

*** Ryota Ogawara is the frontman and guitarist of the mojo punk band JIGHEAD (formed 1995), and before that, rock band THE POGOS (formed 1985, disbanded 1933).
“Shelter” is the shortened name for Shimokitazawa SHELTER (下北沢SHELTER) where JIGHEAD and BRAHMAN played their first live shows.
http://jighead.info/livepast.htm

^ Fronted by the late Michiro Endo, The Stalin were an influential Japanese punk rock band that formed in June 1980 and disbanded in February 1985. BUCK-TICK has previously taken part in a tribute album to The Stalin called Romanticist ~The Stalin/Endo Michiro Tribute Album~ (ロマンチスト〜The Stalin・遠藤ミチロウTribute Album〜). In it, they covered the song Omae No Inu Ni Naru (おまえの犬になる / I Wanna Be Your Dog).
Lyrics and trivia can be found here: http://www.bucktickzone.com/lyrics/uncategorized/omae-no-inu-ni-naru/ 
Listen to the cover here: https://www.youtube.com/watch?v=bOZXxjL9Ezo 

^^ Yuta literally said “カバーだ!” (It’s a cover!) so I’ve got no idea exactly what he’s saying beyond this.

^^^ Either something like this or this.

⁰ As in, the baseball team the Hanshin Tigers.

⁰⁰ Sadaharu Oh, also known as Wang Chen-chih, and Shigeo Nagashima are prominent names in Japanese baseball. Both of them played for the Yomiuri Giants. Notably, Oh holds the world lifetime home run record, having hit 868 home runs during his professional

¹ Oniben (鬼弁) is a book of TOSHI-LOW’s bento-making adventures for his eldest son which was released in 2019. Available here.

¹¹ A type of seaweed. Also known as green laver or just dried seaweed.

² The live house, Shinjuku LOFT.

²² The actual statement is, “一回でアウトとか言ってんじゃないよ!”
I honestly have no idea what it could mean but I suppose it’s some kind of common outburst or phrase on those shows.

³ Google “高い枕” for examples. There are other variations but I would assume he’s talking about this.

³³ Also an actor.

⁴ What LUNA SEA fans are called.

⁴⁴ New Acoustic Camp is a sort of not-really music festival which incorporates both the mountains and camping into the events. It is a local Gunma event.
Tokyo Weekender’s posting for the 2019 edition: https://www.tokyoweekender.com/events/new-acoustic-camp-2019-gunma/ 

 

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_______________________

SPECIAL TALK:
ISSAY (Der Zibet)

text by Kanemitsu Hirofumi
photo&design by MISAKI JUN

In Russian

Even among the many artists who participated in PARADE Ⅲ ~ RESPECTIVE TRACKS OF BUCK-TICK ~, Der Zibet’s Ai no Souretsu stands out from the crowd. It is, after all, because this band understands more than anyone else the one core that BUCK-TICK possesses and has tributed this song to them with love. To understand this band is to know the essence of BUCK-TICK.


That feeling of being at a loss, a vast, empty landscape came to mind
And I thought, ‘ah, I know this landscape very well’

―― Sakurai-san said, “Ai no Souretsu suits ISSAY-san better……”, and I also agree that in this tribute album, Der Zibet was the band who made (BUCK-TICK’s song) most like your own.

ISSAY (I): It’s very nice of you to say that. When I was told about the tribute album, I immediately replied with “I’ll do it!”, but it was such a terrible struggle.

―― The song selection?

I: Exactly. When I thought of picking a song, I guess, since they’re a band who has been constantly active for over 30 years, it’s expected that they’ve got a vast variety of options……

―― That’s true (lol).

I: I listened for days, but there were so many good songs that I found myself thinking, “Ah, this one’s good too. But that one’s good too. This is a problem……” so I texted Atsushi-kun (lol).

―― Hahahahahaha.

I: I said, “I’m in a bind.” (Lol). And he replied, “You can do it this way too, and there’s this other way to help you make your choice.”

―― So there’s that kind of advice too!

I: There is, but in the end, I ignored it (lol).

―― Hahahahahaha!

I: First, I decided that I’d stop trying to decide on a song by pinpointing it out. So I selected a few and then discussed with HIKARU (Yoshida Hikaru / Guitar) which from that list would be interesting for us to do as a band. As to how I chose, I picked 2 to 3 songs that I’d like to sing as a part of Der Zibet, and another song that I’d like to sing if I were doing this solo.

―― By the way, what song is it?

I: It’s an absolute secret!

―― Hahahahahahaha!

I: I won’t ever tell Atsushi-kun either (lol). So I sent those songs to HIKARU, and he replied, “I think either one of these two would be good.” And out of those two, the song which grabbed first place was Ai no Souretsu. Actually, I did think that it’d be interesting to do this song with Der Zibet and I did want to try singing it so that’s why I chose it. I suppose what I was thinking of was pretty close to what HIKARU felt.

―― So what exactly were you thinking of?

I: The imagery which Ai no Souretsu has, you know? That isolation and loneliness that is also present in the lyrics. And the romanticism which he possesses. This, I thought, was very similar to our worldview. Also, I think it was 3 years ago? I watched him perform this song at Budokan and it left such a deep impression on me that it’s unforgettable. I was sure that if this was the song we were to do, we would definitely be able to perform it with Der Zibet’s sound without changing the fundamentals of BUCK-TICK’s expression.

―― What did you think of Ai no Souretsu the first time you heard it?

I: I thought it was very Atsushi-kun. That feeling of being at a loss…… A vast, empty landscape comes to mind, doesn’t it? This world view that he has painted, I thought, was extremely close to my own. The way we deal with this feeling of loneliness it brings is probably different, but I feel that I know this landscape very well.

―― What is ISSAY-san’s method of coping with it?

I: Instead of coping, I suppose it’s more accurate to say that in my case, such a landscape basically already exists. And rather than confronting it, I’d just acknowledge that this is something that will always be in me and not do anything about it. It is there as a given.

―― That’s not the case for Sakurai-san?

I: No, I believe it probably exists inside him too. Because (the imagery) wouldn’t have come out like that if it didn’t. However, I feel that the way his heart wavers, or the way it moves when he sees it, that behavioural pattern of his is different than mine.

―― What’s the difference?

I: Atsushi-kun is…… This is simply what I feel, but the first time he lays his eyes on that situation, his heart will be shaken by, for example, surprise and bewilderment. Then he would wonder what this emotional turmoil is about and endlessly pursue (an answer). I think that emotional capacity of his is interesting.

―― I see. So although he feels sad, he’d wonder about the reason behind his sadness or loneliness and get to the bottom of it, right?

I: Exactly. Also, I get the feeling that there’s always a question mark somewhere in his emotional turmoil.

―― A question mark?

I: Yeah. I don’t know if I’m allowed to say this (lol).

―― That’s exactly what we’re looking for (lol).

I: Everyone has their own interpretation, and those aren’t answers, but the question I speak of is not about how things should be, rather, it’s a question mark pertaining to the question of what am “I” when in turmoil.

―― So, it’s about confronting one’s self.

I: I’m the type of person who acts out songs, to begin with, but he sincerely faces (himself) when on stage. There’s a slight difference (between the two of us) there, but since this is a landscape that is very familiar to me, it was easy for me to immerse myself in it.

―― I see.

I: But in these last few years, I can really feel his strength.

―― Strength?

I: I immensely feel the strength that comes from him standing tall and firm on his two feet.

―― How were things in terms of sound production?

I: The final track-down took quite some time, but I think the fundamental areas went relatively smoothly. (We worked on it) while keeping in mind the romanticism and loneliness, and also that isolation which I spoke of earlier, and at the same time, remaining conscious of how much bleaker we can make it sound. Don’t you think that’s where HIKARU’s musical sense came through nicely?

―― That’s true.

I: Don’t you think that if we simply went ahead with taking the same approach to this song, it’ll become nothing more than a simple cover precisely because it’s a song with a world view close to mine? That’s why we went with a tango…… Then again, it’s more like a pseudo-tango, though (lol). Well, HIKARU came up with that idea and suggested, why not take it in that direction. And I was very sold on that, you know. It gives off the sense of an alternate zeitgeist too. I was just allowed to sing freely in that sound (lol).

―― Freely (lol).

I: Yes. I was able to see the scenery very clearly this time, so I decided to sing the lyrics naturally; without a single gratuitous gimmick in the song, nor any weird vibrato (lol). When I was thrown into it, I decided that I’d stand up straight and sing it.

―― Have you heard any response from BUCK-TICK about the song?

I: We spoke about it the other day when we were drinking after Yoyogi. I was pretty drunk (lol) but Atsushi-kun gave me a compliment; he said, “It was great.” At the time, he asked me, “This song…… was it difficult to sing?” (lol). And when I answered, “It was,” he said, “It’s difficult after all, isn’t it, this song?”

―― Hahahahaha.

I: Our lyrical approaches are different, you see. In this song, Atsushi-kun put phrases with symbolic and impactful words in the chorus. I don’t really use that approach, but as a singer working with such lyrics, it’s very difficult. I could feel how amazing he is as a vocalist. So…… I can’t lose! (Lol).

―― But it’s already turned into ISSAY-san’s, or rather, Der Zibet’s song.

I: I’m glad you think so. Since it’s a favourite song of mine, I was even thinking of perhaps singing this song as my own in future live shows. As a vocalist, I’d be very happy if I could, one day, sing this song with Atsushi-kun be it in this arrangement or the original.

―― I would love to hear it. Also, aside from your world views being similar, it’s also filled with love, isn’t it?

I: When involved in a tribute, isn’t it truly frightful if you ended up doing it wrong?   Because we’re essentially different, to begin with. But I think that it’ll turn out to be something really interesting as long as my love for the work and the musician(s) doesn’t go in the wrong direction. We’re not the same person, but it’s important to acknowledge one another, and as a vocalist, I thought a lot about how to put our differences into play.

―― It’s turned out to be a lovely tribute.

I: Because I sang it with all my love for the band BUCK-TICK, and Atsushi-kun (lol).

 

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Contributor Article

A One-Of-A-Kind Polyphony

by Okada Iku

 

Today I surrender to the “polyphony” that melts together into one
I chant the answer without a question, “Only BUCK-TICK is BUCK-TICK”

In 2019, when Ringo Shiina and Sakurai Atsushi performed Elopers on a music show, viewers who saw Sakurai’s performance for the first time screamed in delight on social media one after the other, causing a huge commotion. I, on the other hand, was reminded of the proverb “a borrowed cat¹” when I watched him take a step back for Ringo Shiina in the middle of the song. Because, after all, she did borrow him briefly for that little while.

Elopers is, simply put, very much a BUCK-TICK-styled song. The showy lyricist harmonises with Sakurai Atsushi, no, performs a unison where their voices do not intermingle. It’s an outstanding piece of work that could have been inadvertently inserted right after PINOA ICCHIO -Odoru Atom- as the 3rd track of Atom Miraiha No.9. But such a thing will never happen, because this is, after all, an external collaboration and “not” BUCK-TICK.

But if that’s the case, then what “is” BUCK-TICK on the other hand?   It’s actually surprisingly difficult to define their musicality and answer this question. I find myself laughing at the contradiction that no sooner were they praised as “having remained the same for over 30 years,” than were they described as, “constantly evolving.” Although I have been listening to them for 27 years, even now, I’m always finding fresh surprises whenever I put all their songs on shuffle.

Nevertheless, if you arrange it all properly and trace the changes, there is one major factor that points to linear time and that is the voice of Imai Hisashi. Sakurai and Imai stand side by side and harmonise, no, perform a unison where their voices do not intermingle. Those moments are the instances when my auditory nerves take unparalleled pleasure in acknowledging, “This! This is BUCK-TICK!”

When I first listened to Kurutta Taiyou, I was amazed at Sakurai’s ability to express himself in a variety of different ways, starting with the opening track Speed. More than that, Imai’s “Open it onto Evolution Mode” in the B-side, Brain, Whisper, Head, Hate is noise was even more impressive. Imai Hisashi’s vocals are primitive; it’s a noise that strikes a chord with listeners. He descends suddenly like a deus ex machina, forcibly taking away the gaze that tends to be focused on frontman Sakurai and giving the audience a bird’s eye view of the whole performance. This looks like a monologue, not a solo act. It is not an ensemble of five people, but one Lingua Sounda. This was the “heavenly voice” which opened up the metaperspective to the lost lambs and allowed them to decipher the entirety of the band’s sound.

Also, Aikawarazu no “Are” no Katamari ga Nosabaru Hedo no Soko no Fukidamari and Sid Vicious ON THE BEACH, where Imai performs as the main vocalist, are “foreign bodies” which were cleverly mixed in to prevent the balance and harmony of their respective albums from being boring. On the other hand, listening to Deep Slow, Madman Blues ~Minashigo no Yuu’utsu~, Living on the Net, and other songs of the like now leave the strong impression that they are masterpieces of “the lead actor of the BUCK-TICK theatre Sakurai Atsushi who has an intimate knowledge playwright Imai Hisashi’s direction.” Songs of Sakurai’s vocals give off the sense that if times were different, this might’ve been a stage performance with Imai as the main star.

The chorus work and banter in MY FUCKIN’ VALENTINE, Cyborg Dolly: Sora-Mimi: PHANTOM, 21st Cherry Boy, LADY SKELETON, and, of course, Memento mori also get the crowd excited at their live shows. A similar, but not identical, approach was taken in BUSTER and Les Enfants Terribles, where the same tunes are being repeated by different voices. With Sakurai going before and Imai going after, it is impossible to perform these songs without one or the other. Or, perhaps, they are a two-headed beast that rears its sickle-neck. From this point, the playwright gets in as a cameo in the signatory actor’s solo performance, establishing it as a fabulous two-man show.

During the interlude of Alice in Wonder Underground, Imai’s voice continues to sing DIABOLO -Lucifer- from their previous work 13th Kai wa Gekkou. In Tenshi wa Dare da, the same words which were previously sung by Imai are again pursued by Sakurai with a different melody. As we move onto the days of Tango Swanka, it’s no longer a simple relationship of Sakurai being the main star and Imai being the guest. And by the time we lead up to DADA DISCO -GJTHBKHTD-, the whole song is composed of dialogue between Imai and Sakurai. It is as extravagant as breaking two perfect, beautiful bowls into pieces on purpose and then putting them together once again by kintsugi². Surely the line in Elopers which reads “pH stays at seven as we bind each other up” is a homage to this?   Ringo may not have said anything in relation to this, but I understand how Ringo feels. Because, I, too, love this.

Like a large flower blooming open from a bud, the presence of the polyphony of the BUCK-TICK theatre is only growing. Most noteworthy in their latest album, No.0, was the flow from Nostalgia -Vita Mechanicalis- to IGNITER. From “Open it onto Evolution Mode”, these double vocals have grown and built up over the years, overlapping to a point where rather than no longer getting surprised when they come up in various tracks, we are bathed in an amalgamation of sounds that makes it impossible to even tell where the five-man band is coming from.

In 1993, I watched Dress at some point which led me to check out all the old scores from the local ward library. As a 13-year-old who grew up with YMO as a lullaby but still couldn’t quite find music which hits the spot even after listening to any number of great rock albums, I was immediately hooked on them. The very first thing which moved my heart was, above all, the beauty of the melody woven by Hoshino Hidehiko, then, thanks to the “danceable” groove which Yagami Toll and Higuchi Yutaka created under the skin of a rock band, I can still listen to them without getting tired of them. And finally, my desire to spend the rest of my life watching the one who always craves for the “next one” to death no matter how satisfied he is with their new work; Imai Hisashi and Sakurai Atsushi side by side with each other.

Still, it’s a little late to be wondering what kind of planetary alignment occurred to draw me towards Hoshino’s aria, to peek into this band where Sakurai’s aesthetics coexist with Imai’s noises and the rhythm brothers Higuchi and Yagami. Where the scales and rhythms and festivities of all world music on earth are incorporated in an unadulterated and elaborate manner, primitive yet mechanical, letting you stand and headbang and shake your head side to side, and feel the groove moving you, swaying your hips as you dance with alternating steps. It’s hard to describe its musicality in one word. But today I surrender to the “polyphony” that melts together into one, and I chant the answer without a question, “Only BUCK-TICK is BUCK-TICK”.

 

Okada Iku●
Writer. Born in Tokyo and lives in New York. After working for a publishing company, she began penning essays. Author of Haji no Oi Jinsei, Yome e Iku Tsumori Jyanakatta, Tengoku Meshi to Jigoku Mimi, 40-sai Made ni Kore wo Yameru, and co-author with Nimura Hitoshi and Kaneda Junko for Otoko no Karada wa Kimochi Ii.

 

Notes:

Lyric translations come from This is NOT Greatest Site.

¹ 借りてきた猫 (karite kita neko) literally means a borrowed cat. It refers to a person-for-hire, or a person who appears meek and quiet, as if like a reserved cat in an unfamiliar environment.

² Kintsugi, also known as kintsukuroi, is the Japanese art of repairing broken pottery by mending the areas of breakage with lacquer dusted or mixed with powdered gold, silver, or platinum.

 

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Translation: Yoshiyuki
Scans: spanielonthemoon on Tumblr

Wings of a Fallen Angel
Datenshi Feature

Ongaku to Hito
February 2020

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

 

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

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

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

 

 

 

 

 

 

Individual Interviews

_______________________

Sakurai Atsushi

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

Interview by Ishii Eriko

 

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

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

―― Right.

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

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

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

―― …… Ah.

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

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

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

―― Is it okay to publish this?

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

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

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

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

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

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

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

―― And that made you stop for a bit.

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

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

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

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

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

 

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

―― When were these two songs made?

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

―― What’s the title of the painting?

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

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

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

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

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

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

S: No?   Nothing like that in particular.

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

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

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

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

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

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

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

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

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

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

―― No, don’t be.

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

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

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

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

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

―― Because that was during wartime, right?

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

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

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

 

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

 

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

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

―― Are these scary to you?

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

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

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

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

S: …… I’ve been drinking.

―― Wahahaha.

S: With my utmost effort.

―― Good work!

S: Hahaha. Thank you!

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

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

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

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

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

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

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

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

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

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

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

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

―― Hahahahahaha.

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

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

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

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

S: Not progressing. At all¹⁵.

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

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

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

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

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

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

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

S: Hahahahahahaha!

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

S: Yes. I hope so too.

 

 

Notes:

¹ Sakurai never specified the pronoun.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

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_______________________

Imai Hisashi

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

Interview by Kanemitsu Hirofumi

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

I: Uhh…… What did we do?

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

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

―― In what way?

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

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

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

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

I: That’s right.

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

I: Hahahahaha.

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

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

―― Is that music for BUCK-TICK?

I: There’s no other, is there?

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

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

―― It’s never-ending, is it?

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

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

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

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

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

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

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

―― Pardon me, but how is it different?

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

―― Aggressive!

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

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

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

I: Yes, exactly.

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

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

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

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

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

I: Hyahahahahahahah!

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

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

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

I: I suppose it might be so.

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

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

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

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

―― Ahahahahaha!

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

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

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

―― What vibe are you referring to?

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

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

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

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

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

 

Notes:

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

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

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

 

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[Live Report] The Day In Question 2019

2019.12.03 Takasaki City Theatre

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

 

text by Kanemitsu Hirofumi
photographs by Shibata Eri, MASA

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

3rd December. Takasaki City Theatre.

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

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

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

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

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

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

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

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

 

 

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BUCK-TICK and the Ariola Decade
2000-2010

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

text by Kanemitsu Hirofumi

 

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

__________________________

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

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

 

 

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Editor’s File

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

text by Kanemitsu Hirofumi

 

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

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

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

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

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

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

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

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

 

 

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Translation: Yoshiyuki
Scans: spanielonthemoon on Tumblr

[Live Report] The Day In Question 2019

Ongaku to Hito
31 December 2019

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

 

 

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

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

 

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

「We’ll meet again, for sure」

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

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

 

 

 

 

【SET LIST】

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

ENCORE 01
01 Datenshi
02 RONDO
03 Mudai

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

 

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

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito

Interview with Imai Hisashi
for Amplifier Collaboration

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

OPENERS
4 October 2019

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

 

“Connect the trajectories and don it”

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

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

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

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

© BANKER LT.D

 

 

 

Notes:

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

 

 

Translation: Yoshiyuki

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

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