BUCK-TICK

Ongaku to Hito
December 2024

 

 

We are not alone
BUCK-TICK

text by Kanemitsu Hirofumi
photographs by Goto Michito_UM
hair&make-up by Tanizaki Takayuki, Yamaji Chihiro_Fat’s Berry
styling by Shimizu Kenichi

 

Just imagine.

Here’s a band formed in 1985 by a group of friends who attended the same high school. Without ever changing their member line-up, the band was consistently active and were looking forward to celebrating their 40th anniversary next year. Then, the vocalist unexpectedly dies. The remaining members of the band are all in their late fifties to early sixties. Normally, this is where the story of the band ends. Not only is their frontman gone, they will have to start all over again from square one after losing a dear friend they have shared close to 40 years of experiences with. And to top it all off, they’ll have to do that while bearing the name which has been engraved with the memories they made as a band of five.

This is an impossible endeavour. And yet, despite it all, these four did it.

And it’s because they know that their almost 40 years of activities are not something that they could’ve done alone.

A year has passed since Sakurai Atsushi’s unexpected passing. With four members now, BUCK-TICK is releasing the single, Raijin Fuujin – Resonance on November 20th, and the album SUBROSA on December 4th. The album features Imai Hisashi and Hoshino Hidehiko on vocals and consists of 17 songs including instrumental tracks. Furthermore, the lyrics strongly convey their emotions regarding the absence of a cherished person, and to the fans left behind.

Life is all about love and death; it was an all too cruel reality that befell a band who had always faced this head on. Yet even as they wander and feel their way onward, this album tells us that moving forward is the only answer. 

We dedicate this cover and lead feature to the future that the four of them will walk together.

 

 

 

 

Individual Interviews

_______________________

Imai Hisashi

It’ll be the four of us making music with myself and Hide as vocalists.
While experimenting, we were also looking for the best style we could work in
Having a guest vocalist on our albums is probably not going to happen in future, I think

 

――The album is complete.

Imai (I): I think we probably managed to do something interesting here. Since it’s the first time we’re making music with four people. It’s like, ah, I guess this is what it is now. Fresh, isn’t it?

――If Imai-san didn’t decide to continue BUCK-TICK on that day, this album wouldn’t have materialised, and even the band might’ve ceased to exist. When was it that you started to envision what you’ll do next?

I: It wasn’t really a decision. I guess it was more of a, “Uh, so…… We’re doing this, right?” When the four of us came together, that’s all I got across, but as you’d expect, there was no concrete vision. But if we’re going to do something, we can’t continue to do rhythm-heavy songs with something melodious as the focus. We wouldn’t go as far as to call it hip-hop or rap, but I figured it might be better if we made songs where the voice lines followed more of a rhythm (than a melody), or music that works in a different way than what we’ve been doing so far. We’ve also got songs like that last track (Tasogare no Howling) that’s kind of undefined, so I could sort of see (a way forward). After that, we were experimenting with all kinds of ideas while shaping the songs, so I guess you could say that’s what this album embodies.

――I see.

I: No matter what we do, it’ll definitely turn out unlike anything we’ve done before. That’s what I thought. I didn’t intend to force ourselves to stay along the lines of what we did, but neither did I think of doing something completely different. This way, we have the freedom of not being tied down to our past work while embracing our new limits. Song writing became interesting (in that sense). I had the thought that although we’re still named BUCK-TICK, this release could be regarded as a new band’s first album.

――The first thing that came to my mind was what was going to happen to the role of the vocalist.

I: Ah, that, from the start I figured it’d be me. No trouble there. I think Hide thought the same too. Thus far, we’ve had a powerful frontman. When I wrote music, lyrics, and did the guitar arrangements, I decided on the parts I’d play. Essentially I did whatever I wanted, but since I’ll be singing things won’t be like they were before. But therein also lies the opportunity to turn that into an advantage where I can come up with new arrangements.

――And for this album, I think you had no choice but to be specific with the theme.

I: Well, I suppose.

――If you asked me, I’d say it was Sakurai Atsushi’s absence. And your thoughts to the fans. I noticed that these [themes] were reflected in the lyrics.

I: It’s certainly there, and I think it comes through. But I didn’t have in mind that specific intention to compose lyrics and music with such a theme. It just naturally turned out like that.

――Unconsciously.

I: Yeah. But there are 17 tracks this time, right? With three instrumental tracks. This was a conscious decision. Besides, I’ve always said I wanted to have a 2-disc release.

――Ah, I see.

I: From the very beginning, I composed a whole bunch of songs and said I wanted to make a 2-disc album. I kept making noise about it to the very end (lol), but it just wasn’t going to happen no matter what. In the end, I could only say, “Fine. We’ll make it one disc only but we aren’t changing the number of tracks!” (Lol)

――Hahahahahaha. Why were you so insistent on the number of tracks?

I: I wanted to increase it; the number of BUCK-TICK songs done by the four of us. That’s all.

――Ahh…… I see.

I: This is for the future. There are surely songs that we won’t ever be able to perform again, so I wanted to increase our options. How our concerts will look like, that’s yet to be decided though.

――Speaking of which, there were songs from the year before that you prepared for a 2-disc 異空 -IZORA- album but ultimately didn’t release, weren’t there?

I: Those aren’t in here this time. Although, there was a song entitled スブロサ SUBROSA at the time when we were working on the 異空 -IZORA- album.

――Eh!

I: I think about half of the lyrics are the same as what it is now? But the music is completely different. It used to feature more of the typical band sound. Since 異空 -IZORA- was to be a 1-disc album, that song was removed from the demo. Sakurai-san did say, “I wanted スブロサ SUBROSA in too, though.” But I think it sounds cooler the way it is now.

――SUBROSA, the album name means “in secret”  or “ in private” in English. In Latin, it means “in secret, under (a) rose” (薔薇の下で内密に / bara no shita de naimitsu ni) which is also tied to the name of this year end’s Budokan show, Naisho no Bara no Shita (ナイショの薔薇の下)

I: But I’ve had this idea even before now. I wanted to incorporate this word [into our work] somehow and I’ve been waiting [for a chance]. This was then brought out during 異空 -IZORA-’s time, although this word was only used as a lyric.

――Imai-san and Hoshino-san have always had the intention of recording your vocals, but did you consider the possibility of having guest vocalists or using past voice tracks?

I: We did last year’s Budokan show with Sakurai-san’s voice tracks, didn’t we? I think that was something we absolutely had to do. But only on that occasion, and that’s it. After that, it’ll be the four of us making music with myself and Hide as vocalists. While experimenting, we were also looking for the best style we could work in. At the very least, having a guest vocalist on our albums is probably not going to happen in future, I think.

――How’s Hoshino-san’s voice?

I: It’s that Hide melody (lol).

――Well, of course (lol). But I never expected him to have such potential as a vocalist.

I: ……Ah, really? You’ve never heard Hide sing?

――Nope.

I: I knew what he sounded like to begin with, though. Because Hide always sings the scratch vocal tracks on his demos. I see, so everyone had never heard him sing until now (lol).

――(Lol) So I assume that he’s fine if he uses the same voice as he does for singing on the demo tapes.

I: Or rather, it’s less about whether he’s fine or not, and more that, since he said himself that he wanted to sing then that’s enough, isn’t it?

――So it’s the intent that counts?

I: Mm. I believe (Hide) said that he wanted to do it.

――Also, you mentioned that lyrics naturally came to you, so I can’t help but feel like the emotions towards the person who is gone and the feelings towards those who are trying to accept that absence are motifs [in the lyrics]. For example, like Muyuubyou SLEEP WALK……

I: This one’s [about] a world of quantum mechanics.

――Qu-quantum mechanics?

I: Mm. Stuff like Schrödinger’s cat (Note: A thought experiment by a physicist which states that if a cat is put in a closed box with a fixed probability of poisonous gas emitted, it may be considered to be simultaneously both alive and dead for a period of time until the box is opened. In other words, this cat can physically be in two states at the same time: alive and dead, showing the difference between the microscopic and macroscopic perspectives). And how you can go to all sorts of places if you went to the quantum sea (量子の海)¹. Even into dreams. I imagine that’s a thing.

――But…… even if you didn’t write the lyrics with that intention, a lot of people are led to that assumption, aren’t they?

I: Well, I suppose. Then, it’s fine, isn’t it?

――But you’re saying that you weren’t set on a theme.

I: Mm. It appeared on its own. So I wrote it. There’s probably a lot which are like that in this album. But I’ll say it over and over again, there was no conscious effort to write with this theme.

――On the contrary, you could say that it still comes out [despite the fact].

I: I think so, yes.

――This is only an example, but when you work on your next album, you’ll probably come up with something that doesn’t give off that sense of an undercurrent of “Sakurai Atsushi’s absence” unlike in this album, right?

I: That’s for sure. Personally, I’m looking forward to it. Even this time around, there are no more restrictions on not only the lyrics but also the music, so it got really interesting. But, still…… I think there’s more we can do.

――Do you get the feeling that there are certain songs you’ll never be able to play again?

I: Hmm…… This time, not particularly, I think. Instead, it’s more fun thinking about what we can do with this current BUCK-TICK and making it happen.

――Since you made Raijin Fuujin – Resonance the single, did you make a conscious decision to sing in unison?

I: In the beginning, not really. Muyuubyou~ carries some impact too so we were saying that it could be a single too. But [we agreed that] the twin vocals where I come in first and Hide comes in next probably makes it easy for everyone to grasp that this is a new start.

――Zetsubou to Iu Na no Kimi e and Pushukee -PSYCHE- had lyrics written by Imai-san while the music was composed by Hoshino-san. Why is that?

I: Because Hide asked (lol). But for these, the intention was to write about humanity in a vague and general way. They’re not about Sakurai-san, neither are they about any particular person. He just wanted strong lyrics. Hide said, “Make it tug at the heartstrings.” But for me, I think focusing on strong feelings works better than reminiscing.

――In Zetsubou to Iu Na no Kimi e, there’s a line that goes “that’s what we call hope” (それを希望と呼ぶ) where one could say that “hope” (希望) is interchangeable with “light” (光), and this gives me the impression that this is what Imai-san always looks towards.

I: At first, “future” (未来) was written instead. Because I didn’t quite like using the typical “hope” versus “despair” pairing. But at the very end, I decided it’d be better making things easy to understand. Also, the feeling of the words coming together. That’s the only part I couldn’t decide on until the end.

I wanted to try and see what would happen if we did something different
Bearing everyone’s feelings, not wanting the band to disappear
It’s less of that and more of experimentation. I wanted to try

――I believe a big reason why there are so many songs is certainly for the sake of increasing the number of BUCK-TICK songs by the four of you but I wonder if it’s also a result of Imai-san’s trial and error.

I: Trial and error, huh…… Can’t say there’s none of that, but it’s more of a “well, something like this could work too?” vibe. And making things work while getting lost.

――Were you lost?

I: Of course. Limitations were lost and while it feels like we could do this, we could do that, things are unlike they ever were before, aren’t they? There’s no “correct answer” or anything like that either.

――Were the other members in the same spot?

I: I think everyone was figuring it out. But when it was time to record, we could rely on Anii and Yuta.

――It’s good that progress could be made even with the uncertainty.

I: Such an experience……isn’t one I wanted but it’d be good to think of it as something that would lead us to good things down the road, right?

――But I think Imai-san is a person who depicts light because you’re more afraid than anyone when faced with death.

 

I: Fear is definitely there, an immense lot. Because [death] means that we won’t ever be able to do what we wanted to, and losing someone who had always been close by is…… painful. But it’s a fact of life, isn’t it? It’s the one thing that happens to everyone without bias. Out of nowhere.

――So, because it’s a fact of life, we should try not to be too sad or lost.

I: There are times when I would subconsciously stop it when I get that way. That said, this time, it really was way too sudden though. So much so that it’s difficult to anticipate or prepare (lol).

――Which is why I kept wondering how Imai-san feels when you consider this to be a fact of life.

I: From that moment, I forcefully pulled down (the shutters).

――Not that you’re treating it as if you didn’t see anything, right?

I: Of course. Because I first had to think about the band, the company, the fans and all. But for myself, I forced things shut. This probably isn’t the best way to say it but I stopped myself from thinking about [death]. Not exactly in the sense of Schrodinger’s cat, but simply as if [he’s] in a different form somewhere else.

――What do you think would’ve happened if, say, anyone in the band doesn’t want to do it, can’t do it, says it’s impossible?

I: It depends on how strongly they believe that, but there’s no point in chasing after someone who wants to leave, you know? But Anii and Yuta and Hide, neither of them were like that and I didn’t even consider that they would become like that. But if it were to happen that way, then I think I’ll keep at it even with three people.

――This definitely goes to show that continuing the work of this band is the rightful cause in Imai-san’s heart, the one thing that you must do, and I feel that this drives you.

I: Perhaps. I just hated the idea that we can’t do anything anymore just because Sakurai Atsushi is gone.

――You didn’t believe that was all BUCK-TICK was.

I: That’s the only kind of BUCK-TICK we ever had so I don’t know, but…… personally, I wanted to try and see what would happen if we did something different. It’s not so much to do with bearing everyone’s thoughts and feelings, or not wanting the band to disappear. I just wanted to give things a try, experiment a bit.

――That’s so Imai.

I: That’s this album was a really fun experiment. Next, it’s a question of how we’ll bring this to life in a concert. If it’s not possible, then we’ll consider changing. And that’s another part of the fun, isn’t it?

――You’re very conscious of the fact that there are restrictions on Hoshino-san because he has to sing while playing the guitar, right?

I: If Hide’s doing it, he’s probably thought about the details already. Isn’t that the way it’s been since forever? (Lol)

――Hahahahaha.

I: He kept telling me, “It’s better to think about this properly.” (Lol) To me, I think it’s good if the live performance is different [from the studio recording] but…… There’s a good saying for this.

――What is it?

I: Uh…… Playing it by ear (lol).

――Hahahahahaha.

I: If you think something’s difficult to pull off, why not just change it? While it’s true that we have to think about it properly, there’s also playing it by ear.

――But isn’t it also the first time that Imai-san has such a prominent vocalist role?

I: Mm. Recording was tough due to other things, but I’ve never sung this much live. Lucy was approximately half.

――Aren’t you worried about that?

I: I’ll be careful not to get carried away (lol). But that’s another thing I won’t know until I try.

――Say, if you find that it’s too tough without a break, then you’d put together a setlist that allows you to take breaks in between, or something.

I: Exactly. And anyway, we’ve got instrumental tracks now so I’m thinking about how we can make good use of that time.

――Talking about this, it’s unavoidable for us to arrive at the topic of “continuation”. So, did you feel strongly about starting over again with a band of four?

I: I did, and I also thought, maybe it’d be easier for us if we changed the band name (lol). I still think about it sometimes.

――You do?

I: Because as long as we use the name BUCK-TICK, we’re a band of five, right? There’s good and bad for this. I assume the easiest thing for us to do is to declare that we’re a different band now. There are a number of reasons why that might be the better option. But, it’s…… It makes my chest hurt.

――So, that much you’ll undertake.

I: Yes, and my defiance against the idea that we can’t do anything if it’s the four of us (lol). I want to show that this is what we are capable of doing.

――Ah, I see.

I: There’s no theme or concept at all this time, and I didn’t have any such discussion with the other members of the band either. So whatever we’ve got here is what we were genuinely able to do without any embellishment.

――Hide-san’s paradenomori makes me starkly aware of that.

I: That’s a Hide song so it’s a common occurrence (lol).

――I wouldn’t put it like that (lol).

I:But I think I’ll feel uneasy unless I leave it like this. Because even if we release the next album or more albums in future, it would feel like it’s too late [for us to do what we did this time]. That’s why I think this is how it turned out on its own.

 

 

Notes:

¹ This one’s a little bit odd because I didn’t find any definitive answers to what Imai is possibly talking about here. It could possibly be the quantum field theory (QFT) but this isn’t written as 量子の海 in Japanese. Googling “量子の海” gives me a result from the Digimon universe and a result from the Honkai Impact universe. To add, based on what Imai said about going to all sorts of place via the “量子の海”, this definition fits the Honkai Impact definition so… make of it what you will. 

 

 

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_______________________

Hoshino Hidehiko

After Imai-san composed a few songs and they started to take shape, I could finally see the light
Maybe my resolve was strengthened, or rather, the urge to just do it came to me

――I was thinking of going through the events leading up to the completion of the album.

H: Sure.

――Let’s start with the four of you gathering to talk after Sakurai-san’s funeral. That was when everyone confirmed their intention to continue BUCK-TICK.

H: That’s right. We decided to continue the band with four members. And right there we talked about a bunch of things. There wasn’t anything specific but, maybe we could have instrumental tracks? Things like that. It feels like we were just discussing whatever.

――Coming from Imai-san, right?

H: Mm. The biggest takeaways that came out of our discussion from that time was firstly, the consensus that whatever we make going forward will be completed among us as a team of four. That we won’t bring in anyone as a guest artist. That we’ll continue BUCK-TICK with we four remaining members. So we talked about how we’ll do what we can in this form.

――What are Hoshino-san’s thoughts on this?

H: If we were to do this, then there’s no other way. But honestly, although that was how the conversation went, I’m like “Hmmm~”, there are other factors.

――Like?

H: For music, both Imai-san and I compose it so that’s not much of a problem. But when it comes to lyrics and singing and the worldview which comes with them, the first thought that came to mind was how are we going to pull those off? At the time, I honestly couldn’t think of how we could go about it at all. Most of all, the worldview is going to change drastically. There’s no way the four of us could succeed [what Sakurai built].

――In other words, you had your worries.

H: But we had also just affirmed our intentions to do what we could as a band of four. That’s how I felt. And at the time, the reality that (Sakurai-san) isn’t here anymore hasn’t sunk in. Sure, we’ve decided that we’ll do it but we don’t know anything. We couldn’t imagine even a probable idea of what it would become. Because rather than basing our decision on music, we’re moving first with our feelings.

――So when was Hoshino-san first able to visualise?

H: A while after that conversation, after Imai-san composed a few songs. Listening to them, I could finally see the light as they started to take shape and I felt like I could start composing again bit by bit. You could say that was when my resolve was strengthened, or rather, the urge to just do it came to me.

――What kind of urge?

H: The person with the powerful worldview and impressive presence who has always been in charge of singing has suddenly left us, hasn’t he? To take up his role as a replacement is nothing short of impossible . But if we were to do this with the four of us, we don’t have a singer so someone has to do it. So, I figured, that’s probably gotta be me and Imai-san. Since we’re writing the music too.

――Right.

H: I can’t replace him but I can only find out what I can do in my own way. Going along with it, this time, we sang the songs we wrote. It wasn’t a conscious decision but that’s just how it turned out.

――Till now, if an album has 12 recorded tracks, Hoshino-san will be in charge of two songs and the rest will be left to the other two. I believe that was more or less the division of responsibilities within the band.

H: That’s right.

――How did it feel approaching music in a different way from that?

H: There were definitely differences compared to how we’ve done it all this while. And usually, we’d know the general feel of the album by the time a few song demos are done, right? There was nothing like that this time. We were really starting from zero.

――I see.

H: Which is why we didn’t even think about the division of work. We were all focused on what we could do with the current BUCK-TICK, what we wanted to do, and try making what we wanted to create.

――Till now, your stance was to make music your way in parallel to the album worldview that has usually been established by Sakurai-san and Imai-san.

H: That has now turned into believing that all I can do is try and produce what I think is good. No one knows how things will go so, in any case, I would try and produce something without thinking too hard about it.

――How does it feel doing that?

H: I was uncertain. If I’m the one singing, there’ll definitely be limitations in place. Thus far, I just needed to write a good song and everything will be OK but now, I have to think about the balance between singing and playing guitar while composing otherwise I would find that I can’t sing or play something.

――Has it got to do with vocal keys or something like that?

H: Partly, but also, I’ll have to play the guitar and sing live. Since that’s the case, I’ll have to use a relatively simple melody. Otherwise I’ll regret it later (lol). Because it’ll be tough. And because I’m already aware of that.

――Of your limitations as a guitarist.

H: That’s right. If we had a vocalist, I’d have no problem playing an arpeggio that’s completely different from the singing. But it’s definitely impossible for me to sing and play that arpeggio at the same time (lol). So now that I have to choose, I’ll keep the guitar playing simple and more often move the technical parts to synth.

――How was Hoshino-san’s experience with recording vocals yourself?

H: It went along surprisingly smoothly. The work itself wasn’t all that difficult either. But then again, well, it’s a recording, right (lol).

――I see.

H: I’d expect things to be different when it’s live (lol). That will have to depend on future experience.

――Did you feel like you were lacking anything while recording?

H: Nope. Before I knew it, I was focused and immersed in the work. I didn’t think of anything else. But occasionally, there were moments when I’d wonder, “Why am I singing”.

――Imai-san used a lot of metaphors in his lyrics but it feels like Hoshino-san’s lyrics are quite straightforward in expressing your feelings towards the fans and your message for those who have left us.

H: Well, I suppose that’s how it is. It’s our first album since becoming a band of four after all. And I think there are going to be lyrics that I can only write about at this point. That naturally came out on its own, didn’t it?

――So rather than deciding on a theme and working with it, you tried letting this work naturally without too much of a conscious effort.

H: Yes, exactly. Without rejecting anything that comes out (lol). I did want to go about this without being too self-conscious about it. Because I had a feeling that this is how the lyrics would turn out one way or another.

In these few years, there’s a drop in how much we get to talk about our own lives
But completing this one album,
I get the feeling that our thoughts and feelings have changed again

――Hoshino-san’s lyrics to paradenomori pretty much made it a response song with the way the lines clearly pay homage to a number of songs.

H: I had no intention of writing lyrics for this song either. But when the music was done and I was going to add in the demo vocals, the first line of the song suddenly came out. Whenever I made a demo tape, I more often would use sounds that sounded japanese rather than nonsense English but after that happened, the second line of the song became a callback to Dokudanjou Beauty (lol).

――And so you built it up from there.

H: I wrote in a bunch of fun lines while looking at old lyrics. Similarly, Ningyo -mermaid- would liven up the audience so assuming we played this live…… That was the train of thought I went along with (lol).

――The lyrics were linked.

H: When I imagined that he was probably going to the sun, the moon and visiting all sorts of places, that’s the exact lyrics I ended up with (lol).

――Even the song name is a homage to memento mori.

H: That’s right. Actually, From Now On was similar where I included the lyrics and wrote the song while thinking about performing it live.

――While the lyrics and music for those two songs come from Hoshino-san, both of them were composed with Sakurai-san and the fans who love him in mind. Clearly.

H: Mm. Certainly when it comes to those two songs. But you can also sense that vibe from the album on the whole, right?

――Right. I thought you’d tone that down with metaphors while bringing out the worldview of the album more, so this is a surprise.

H: It’s not something I expected either (lol). That this is the extent of it. All of this probably came out of Imai-san naturally too, I assume.

――Right.

H: Furthermore, we’re all figuring things out. We did decide to do this as a band of four, but we have no way to know whether this is really the right choice. I guess this album is the conclusion we arrived at. That’s why, although there was no theme in place, it naturally just turned out like this.

――Do you think about what kind of music BUCK-TICK will make after releasing this album and going on tour?

H: What do you mean?

――I think this time’s album is ultimately centered around Sakurai Atsushi’s absence and your thoughts to the fans left behind. But you can’t sing about this forever.

H: Not yet, then. I don’t know. But after having made this album, I think the four of us sense a different kind of potential than what we’ve known so far. It’s like, even though we’re a band who’s been together for close to 40 years, we find ourselves standing at the starting line all over again with this album.

――That’s true.

H: But I think that’s a good thing. At least for me, after making this album, I feel that there’s still a lot of potential for this band, and I’ve even come to find that there’s still stuff I want to do. It feels like I’ve become a little more proactive.

――And you can’t really deny that you were content playing the role of Sakurai-san and Imai-san’s junior in the BUCK-TICK thus far.

H: In a way…… That role is something I’m comfortable in though. But things took a sudden turn and everything changed so I had to be more involved in the band…… Although this isn’t the kind of thing anyone should only realise at 58 years of age (lol).

――About a year has passed since the band became four members. Have you sensed any sort of change in your relationship, or anything like that?

H: We dropped from five members to four so there’s a slight increase in workload (lol). But that’s about it. Other aspects didn’t really change. But…… Recently, growing older, we do talk about work and recordings but there’s quite a drop in how often we get to talk about our own lives. But completing this one album, I get the feeling that our thoughts and feelings towards each other have changed again.

――Because Hoshino HIdehiko who has always stepped back has now become the frontman, right?

H: Frontman…… I don’t know if that’s what I’ve become. But I guess, in a way.

――Did it cross your mind that the frontman’s had it tough all this while?

H: Ahh, definitely. Besides, I think singing 20 plus songs in one concert is really difficult. I also understand why he doesn’t really want to talk after a concert. We all know how much he’s been using his voice and I’ve always thought it was tough on him. I’ll probably get to understand even better after I’ve tried it myself and performed live.

――Because at the same time, he wrote almost all the lyrics and created worldviews.

H: You’re right. And his performances naturally come to life because he’s the one who wrote the lyrics. Because he’s definitely the one who saw it through properly. It’s not possible for me to stand in the exact same perspective as such a person and although he’s a vocalist who could bring the world he created to life in a performance, it’s simply impossible for me to do that as someone who’s just starting out. We can only do what we’re capable of pulling off.

――Just starting out a little before your 40th career anniversary (lol).

H: Correct, just starting out. But since I’m just starting out again, it means that I’ll be able to start over so I think that’s also a good thing…… Yeah. Sakurai-san has Sakurai-san’s own world. Different than Imai and Hoshino’s world. But I think elements similar to Sakurai-san’s thoughts will appear.

――Because this time, the crux of the album has to do with his absence, the fans’ feelings, and your own feelings.

H: It just so happens that this is the way it turned out this time.

――Since we’re on this topic, what will become of the next one? This is also a significant theme. And there’s no way you can keep reusing this forever.

H: That’s true and I’m sure that our fans also aren’t eagerly anticipating such a vocalist (lol). But, well, I think you’ll get it once you see it.

――Has it ever crossed your mind to use Sakurao-san’s voice?

H: Well, more on that later.

――Sounds deep (lol). But I assume that the most important thing about this album is to show how things will be done from now on with BUCK-TICK as a four-man band.

H: This time, yes. Especially so.

――Among everything, I’m quite sure that Hoshino-san’s awakening was also a crucial point for this new beginning.

H: Hahahaha, really?

――I sense that the way you look at the band has changed. When I went drinking with Anii and Yuuta-san just a little while ago, Anii was all drunk saying, “Hide’s really giving it his all. Out of all of us, he’s changed the moooooost!” about fifteen times or so.

H: Hahahahaha. I see (lol).

――And I think so too.

H: I appreciate it.

――But have you thought about taking on the vocal work seriously? This time around, I’m really rooting for vocalist Hoshino Hidehiko too.

H: I’m grateful, but I don’t feel up for it, you know? I went with the flow and this is the result, that’s all. And rather than polishing up [my skills], there’s still a mountain load of work that the four of us has to do. We’re as good as in our first debut year as rookies (lol).

――Hahahaha. But you’re right, there’s never been a band who’s 40 years into their career when they start over as a new band with a new style, is there?

H: We’re newbies, so please go easy on us (lol).

 

 

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_______________________

Higuchi Yutaka

Personally, it doesn’t feel like anything has started yet. After the album reaches everyone’s hands, after we’ve performed live
after we’ve all shared the experience of being in this state together, then maybe I’ll finally feel like I’ve taken that first step forward

――The band’s present emotional state has materialised as the lyrics and sound in this album.

Y: Yeah. I’m just glad it’s complete. But personally, I’m still figuring things out even now. I can’t bring myself to feel that sense of accomplishment from finishing the album, and at the same time, I don’t know whether or not this was the right choice.

――I see……

Y: But, one thing. It’s a good thing that we didn’t call it quits at the time. That’s what I think.

――You’re talking about the decision the four of you made one year ago when you came together after Sakurai-san’s funeral.

Y: That’s right. Honestly…… Thinking back now, I couldn’t even think about the band. I couldn’t think at all. But Imai-san said to keep the band going, and everyone decided to go ahead with it after talking. For me, it’s easy to give up, but we’ve got all these people who have supported us for over 35 years. It’s a lot of people. I suppose the strongest thing I felt was that it would be weird to just give up so quickly without giving back to these people.

――I see.

Y: It’s that feeling of knowing nothing. Really. All I had was the belief that this was the one thing I absolutely had to fulfil.

――Following that, there was the Nippon Budokan concert, the New Year, and then recording work started in April.

Y: Yeah. At the time, I selfishly said that I wanted [us] to finish one song properly first. BUCK-TICK’s recording work is normally divided into parts to record, so I’d play the bass for a few songs in one day and after that, guitar and drums, synth and vocals would be recorded. Then the sound engineer puts it all together and shapes the song. So instead of making progress on a few songs simultaneously, I just wanted us to finish one song first. Because then I wanted to be able to sort out my feelings with that.

――Yes, I recall that.

Y: Then Imai-san brought his song. That song…… it’s not on this album but it’s a really good song. It almost made me cry…… Or maybe I did cry (lol).

――In other words, it’s an emotional song.

Y: Yes. Then, we tried recording. We always start with bass, so I was the very first one. But…… the things we actually do haven’t changed at all. We’re in the same studio seeing the familiar faces of our staff. Then I played my bass. I heard Imai’s demo vocals through my headphones. It’s the same as usual. The only thing is that Acchan isn’t around. That was painful.

――I’m sure.

Y: But meeting the members made me feel a little bit better. Because up until that point, apart from the Budokan concert and rehearsals and column interviews, I was stuck at home for close to half a year, barely stepping out. Everyone contacted me out of concern but I couldn’t quite muster up the motivation to go out. That’s why this gave me a bit of a breather.

――So you completed the first song.

Y: My feelings didn’t get reset but I suppose I grew to believe that we should try moving forward even if it’s by trial and error. Even now, I still feel that way though.

――That you’re still feeling your way through.

Y: Yeah. I mean, what has always been in great shape was suddenly turned into a crumbled mess and we have to start all over again…… It’s just like how it was when we came to Tokyo and started the band…… No, actually, since it’s a structure that has been around for almost 40 years, I guess this is even more of a trial and error process.

――So, the album is now complete but how does it feel starting the four-man BUCK-TICK  with this?

Y: Hm…… Personally, it doesn’t feel like anything has started yet. Maybe I’ll finally get the sense of taking that first step forward after the album reaches everyone’s hands, after we’ve performed live. Essentially, after we’ve all shared the experience of being in this state together. Everyone hasn’t seen our four-man band photo yet, right? That’s why nothing has started yet.

――I see.

Y: I think that’s the way it’ll be from now on. Up until now, we’ve been creating as a five-man band with all of our fans. When we move forward, this is the asset that we have. It is what helps us and leads us. But now we’ve lost that, you see.

――It’s like everything’s turned back into vacant land.

Y: That’s what’s happened. Please continue to support us the same way you have with BUCK-TICK thus far…… I can’t say that. From now on, we’ll do our best to build up memories and trust bit by bit, but it’s hard work doing that from nothing. Because it takes time, and it’s difficult for us to tell what’s the right way. We know nothing as of now. Cover pages that we’ve always done now feature four people…… That’s a first, isn’t it? From here on out, it’s just trial and error. Besides, it still feels weird that we’re a four-man band  to begin with.

――Even for me, when we were preparing design drafts and preparing catering for the shoot, there were times when I’d suddenly realise, “ Ah, right, it’s for four people.”

Y: Because BUCK-TICK’s media team, designers, stylists, and even make-up artists are all people who have worked with us for ten, twenty years so everyone’s a bit lost. We’re all figuring things out. That’s why I think we’ll find out whether our decisions were correct or not based on what we’ll do going forward.

――I would think there’s definitely a sense of insecurity.

Y: But there’s also the advantage of being able to do whatever we want because there are no restrictions. Imai-kun said that too.

――Even though you’re still figuring it out. Now that the album is complete, how does it feel having the new BUCK-TICK set sail?

Y: LIke this (lol).

――That things haven’t really been sorted out? Or that it’s nothing but anxiety?

Y: As I said earlier, there’s definitely pride in that we made all of this with our fans. That’s why I want to hurry up and start performing live…… Even though it’s scary. But it’s because I think that [only after that] can I build it all up and start something.

――Was it a natural outcome for Imai-san and Hoshino-san to do vocal recording?

Y: Naturally, or rather…… We first thought about how we were going to do this among the four of us. There’s no way for us to bring someone in as a vocalist. And it wouldn’t be right for us to play along to Acchan’s vocal recordings at this point in time. In other words, we had to think about what could be done by the four of us. And when we got to the question of  what we’re going to do about vocals…… it was decided that Imai-kun and Hide would do it.

――Moving on, how did Yuta-san feel as the songs gradually took shape?

Y: The things we do did not change. I simply receive the demo tapes and think about what kind of bass lines I should play. But as the number of songs grew, the amount of things to do would also grow, right? So it felt like things gradually went back to normal.

The pride we feel about Acchan and the things we’ve accomplished
I think the whole band feels that way
I want us to play together as a band until the end of my life

――What about the lyrics?

Y: Ah, nothing there. Just like the way it was when Acchan was around, lyrics are a territory that belongs to those writing them so I won’t say anything.

――But don’t you feel anything after hearing the completed songs?

Y: Right, there’s that. In terms of sound, it didn’t turn out as digital as I expected it to be .In the beginning, I had the feeling that it’ll all revolve around Imai-kun now so I thought we might lean more towards techno and electronica but that didnt happen at all. The vocal work being more rhythmic and hip-hop style stands out but on the other hand, there’s a part of it that has a strong rock flavour to it too.

――What about the large number of tracks?

Y: Well, Imai-kun said from the very beginning that he wants to greatly increase the number of songs, so (lol). 17 tracks. But even this number was what we settled on after stopping him. He said, “I kinda wanna add more songs in,” but, you know, time (lol).

――He did say there was the intention to make it a two-disc album.

Y: Yeah. I felt that this was enough though. There’s a variety of songs and I think it’s an album that easily conveys that this is what this four-man BUCK-TICK is starting with.

――It’s easily understood, and because there’s a variety of songs, it also doesn’t determine the direction you’ll be taking from now, right?

Y: We’ve said we’re figuring things out but even though this is to be expected, [the album] also shows that we still have the potential to grow.

――These 17 tracks, I believe, represent Imai-san’s desire to move forward.

Y: But, you see, even Imai-kun is still figuring things out. Since he’s the main composer, he more or less bears the burden of having to write his own songs, but at the same time, I think you sometimes forget in the process of songwriting.

――In the sense of turning a blind eye to reality?

Y: Yeah. Not everyone is that strong. Whether it’s moving forward or looking back, it’s a different experience for each person but you’ll be sad, you’ll be hurt. It’s just the presentation that’s different.

――So Imai-san is pushing ahead in an attempt to cover it up. He also said that you put together 17 tracks because you wanted to increase the number of songs that you could perform as a four-man BUCK-TICK.

Y: I suppose so. I would think that there are old songs that we can’t play anymore from now on.

――How do you feel about this being rewritten as the new normal?

Y: We’re not rewriting anything. We’ll properly preserve the past. So that we can bring it out and revisit it anytime. But now, I guess we first have to move forward. I think we can reminisce whenever we want, so we should keep moving forward and once we managed to build a new BUCK-TICK together, we can look back at the past and maybe then we’ll be able to create something even better.

――But you’re starting from zero again with a focus on new songs with band members with an average age of 60 despite losing your vocalist after more than 35 years of being in the same band with no change in line-up. And to add on, you’re carrying the weight of the BUCK-TICK band name. You could say it’s quite the surprise, or even unthinkable.

Y: There’s no doubt that this is [possible] because we have people who support us. And I believe it’s because that’s the one thing we’ve always treasured. Also, BUCK-TICK has always gotten all sorts of reactions from everyone whenever we release a new album like excitement, surprise. I also have the desire to bring these types of surprises to everyone…… I might’ve ended up saying this in a rather presumptuous way, though.

――No, no.

Y: And also because having people think, “So this is the way it goes?”, “I’m looking forward to the concert!”, things like that, it’s also another form of happiness for us.

――But I really didn’t expect the lyrics to be filled with such real emotions to this extent.

Y: Ahh, really? Kanemitsu-san, you’ve heard the music quite some time ago, but you didn’t get to really look at the lyrics, right?

――That’s right. Because rather than the sound or lyrics, I was more taken aback by Hoshino-san’s potential as a vocalist when I got to listen to it after our column interview.

Y: Hide also gave his all. He’s amazing. When I heard the track down, I was a little emotional.

――I received the lyrics after the album’s completion. Of course, there are parts that I can see are reflections of what happened in the band, but the emotions, like the feelings towards the people who are no longer here, your feelings towards the fans left behind, it all really hit home.

Y: It felt real?

――It did.

Y: Then that’s good. But I think it’s okay for everyone to see it in their own perspectives. When it comes to interpreting the lyrics and all that.

――Because it’s got a myriad of thoughts and feelings in there, right? Even if there wasn’t a particular way you wanted to do things, how did Yuta-san feel when you played bass [for these songs]?

Y: I suppose this is good enough…… That’s all (lol). Whatever it is, it was all trial and error. And this time, I feel the weight [of decision making]. Because there’s no one right answer. That’s why I see it as trial and error. It’s the first time that we’re shaping a song while feeling so lost. But…… There’s probably no other way except to move forward.

――I suppose so. And also because you’ll only find out the answer after you’ve done it all, right?

Y: Yeah. There’s no right or wrong.

――I assume it’s still in the visualisation stage, but what do you think performing live will be like?

Y: You know…… It’s the same thing again. Trial and error. Whatever we do, everything. Although, the one thing I’m most concerned about is the fact that Imai-kun and Hide will be singing, so I guess I’m wondering what’s going to happen with the guitars. There might be a need to change the arpeggios for songs that are difficult sing while playing guitar. And it’ll also be their first time singing on stage for close to two hours, so there’s the question of the physical toll of that. We won’t know unless we try anyway.

――Do you, for example, think about retaining the old atmosphere in part of your shows?

Y: Probably not. Last year, we performed to footage of Acchan and his singing at Budokan, right? I think it’d be weird to do that forever.

――I see.

Y: Personally, for me, I feel that we’ve done whatever we should’ve done with that so I think we don’t have to do something like that for a good while. And if that’s the better way to do things, or if everyone asks us of it, then we could put an end to BUCK-TICK for the time being and after a few years, do another BUCK-TICK Genshou (バクチク現象). It might work in that form…… But I don’t know.

――Hmm……

Y: If that’s the route we’re taking, then there’s no more BUCK-TICK. Because I think that such a thing is only done by those who have disbanded. But, you know, I think we can always reminisce. It might not sound very convincing coming from me, who’s still figuring things out, but we have to think about moving forward now. Because if we don’t, we won’t be able to look back.

――Frankly speaking, I think it’s a very heavy burden for the four of you to shoulder the band name BUCK-TICK.

Y: It sure is heavy. I think we’re applying a lot of effort.

――I suppose the reason why you still do it anyway has to do with the sense of responsibility towards your over 35 years of activities as well as the feelings of your fans, as you mentioned earlier.

Y: You’re right. And I guess, how proud we feel about Acchan and the things we’ve accomplished so far. At the very least, this is what I believe…… No, I think the whole band feels that way too. Everyone’s amazing. I respect them. I’m glad that I’m in a band with these members.

――I’m glad that Yuta-san says that.

Y: I want us to play together as a band until the end of my life.

――I felt that conviction in the album. That even with four members, you’re still BUCK-TICK and at the same time, you’ll always be a band of five. It’s a work filled with resolve and hope.

Y: I’m glad to hear that, truly.

――But, although his absence and your feelings towards the fans have naturally become the theme in this album, you won’t be able to do something like this for the next work.

Y: We know that. But since we were able to come up with this album, I think we’ll probably be okay. And as we keep going on, we’ll be able to look back again. As long as we can do that, I think we’ll definitely be fine. That’s why the four of us absolutely has to move forward, just so that we can properly reminisce [in future].

 

 

 

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_______________________

Yagami Toll

I only play drums during recording so it’s the same as usual
But on and off I’ll still get the feeling, “Ah, right, he ain’t around…….”

――It’s already been a year.

T: Time flies, doesn’t it? And the band goes on, with a new album out. It’s a curious thing. It never even crossed my mind that such a future would come to be. I mean, a year ago I thought it was already The End, you know?

――On that day, when you heard the news and got the call from your staff.

T: Yes. I thought, “This will mean that it’s over.” Because I believed that it wasn’t possible to even think about BUCK-TICK without Sakurai Atsushi, and we’ve always said that if we’re missing even just one person out of us five, this band will break up. But when I met the other band members after that to talk, the look on Imai’s face said that he had no intention of quitting at all. And when he asked, “Ya’ll don’t wanna quit, right?”, I nodded. If Imai the ringleader says we’re doing this, then the only option is to agree.

――Did you believe that you could keep going even without Sakurai-san?

T: I had no idea how we were going to do this. But the man who created the band, Imai said we’ll keep going. So the only thing we coud do is make it happen. As a drummer, I just have to play my part and properly execute what I’m asked of.

――I’ll just ask again, but why do you think Imai-san suggested continuing the band there and then?

T: It’s just my speculation but I think it’s got to do with his sense of responsibility. We can’t just forget about our fans and leave it all behind. Because they’re the seeds that we’ve sown. Like, how could you just chuck your fans aside! (Lol)

―――Hahahaha.

T: Besides, it’s tough to carry on the BUCK-TICK name without Acchan. I think, to do that, the one thing you absolutely need is that sense of responsibility.

――Songs that sound like they’re singing about your feelings towards the fans are also in the album.

T: Yea, that’s right. But even now, I’m worried (lol). We somehow managed to complete the album, but I’m wondering what we’re going to do about the upcoming tour. Because all the experience we’ve accumulated until now is pretty much useless! Can you believe that I’m starting from scratch again at 62? (Lol)

――What was the recording work like?

T: I only play drums during recording so it’s the same as usual. For decades, I’ve listened to demo tapes with Imai and Hoshino’s temporary vocals while drumming and setting things up according to the song, so that’s exactly the same. Because Acchan’s vocals only come in after drums have been recorded. And also because we don’t always meet in the studio. Even so, on and off I’ll still get the feeling, “Ah, right, he ain’t around…….”

――What are your first thoughts after listening to the album?

T: The total length of the album surprised me the most. It exceeds Six/Nine’s level of 17 tracks at 70 minutes (lol). We’re going against the trends of this era. I was wondering how many songs we’re gonna make at first, but I noticed that Imai wanted to be able to have concerts only consist of songs that are made by the four of us. He more motivated than usual and had all these songs quickly done up. Imagine that coming from the guy who doesn’t start writing the songs until we’re almost past the deadline!

――Hahahahahaha.

T: But after trying to make music together as a band of four, I’m once again reminded of what stellar composers Imai Hisashi and Hoshino Hidehiko are. They sure are no average joes (lol).

――What are your thoughts on having heard the vocals recorded by Imai-san and Hoshino-san?

T: I also thought it would work if Imai and Hoshino sang. There’s no one who can substitute Acchan so it’s fine as long as someone among the four of us does it. I always hear Hoshino’s singing voice in demo tapes so I thought he could do it. And after that meeting , Imai also said, “On the contrary, I think the possibility of what we can do has grown.”

――I see.

T: Besides, even Acchan, when he went from being the drummer to a vocalist, I really wondered whether he could do it. And after decades of hard work, he became such an amazing vocalist. It’d be savage to  compare Imai’s and Hoshino’s voices to the Acchan of recent years. Instead, I sensed potential. There’s still room for growth, and that’s quite something.

――Hoshino-san’s voice is great, isn’t it?

T: You know, to me, I think Hoshino changed the most this past year. He had always put himself in the role of the junior. In this band are Acchan and Imai who were two scary seniors from the same school as him, so he could never grow out of that relationship. Even though he’s amazingly talented as a composer, he decided on the role that he would play in BUCK-TICK on his own. And since then, he never seemed to want to step out of that.

――Right?

T: But this time, Acchan’s gone and it’s not possible to leave all the vocal work to Imai alone. I think he really took a calm look at this from a macro point of view. Then, without being told by Imai, he volunteered himself to do vocal work too. How reliable is this guy!

――Yagami-san kept saying this to me when we previously went drinking too (lol).

T: I can’t believe that the frivolous and unreliable Hoshino has turned out like this. You really see everything the longer you live (lol).

――On the other hand, does Yagami-san feel any change in yourself?

T: Who knows. I’m just a drummer anyway. I might get misunderstood for saying it like this, but I’ve always felt like I’m just helping out ever since Yuta brought me to Tokyo to join BUCK-TICK. If they need me, I’ll drum. If everyone says they want the band to continue, then I’ll do my best with drumming. Thanks to this, I’m healthy. I’m in my sixties but I don’t feel like I’m experiencing any decline at all (lol).

――This album is quite diverse in terms of sound. How did you find it as a drummer?

T: There wasn’t anything particularly difficult. Because both Imai and Hoshino didn’t present me with any sort of impossible task that would cause me a headache (lol).

――So they’re not asking for beats that cannot possibly be made by a human being like they did in the past (lol).

T: Because there are strengths and weaknesses technically speaking. I’m finding it especially so recently, though. Oddly enough, I’m not interested in making myself look good. Because [to me], drumming the right way means to drum in a way that makes it easier for the singers to sing. I’ll omit any rhythm that might make things difficult for Acchan even though it was already decided that I’d drum a particular way during the recording phase. Sometimes, fans would complain that I’m cutting out parts of the original but it’s easier for him to sing precisely because I cut things down.

His voice isn’t there, he isn’t singing, the melodies are different
Four people made this happen, but within these 17 songs
I think there’s no question that Acchan is in here

――I guess it’s no surprise that there’s a strong impression that this album is a message to the dearly departed.

T: I do feel it. In truth, there are songs that weren’t included in this album that are even more amazing. There’s no mistaking that Imai dedicated those songs to Sakurai Atsushi. No matter whether you were aware of it or not, it’s completely soaked in those feelings. I think it really was the biggest shock of our lives after all. For everyone.

――Indeed.

T: And Tasogare no Howling. This is a wonderful song. When I heard it, I guessed that it was definitely going to be the final track of the album, and sure enough.

――What made you think so?

T: Isn’t it just that kind of a song? I don’t really want to say it myself, but…… I believe that this is another song that Imai dedicated to Acchan. It brings to mind a bunch of stuff…… You know, I often dreamt of Acchan right after his passing too. It’s always pretty much the same dream. Acchan is alive, and I’m like “Eh!”, all shocked. Which leads to me thinking, “Didn’t we already announce that he died?!” “Oh, shit! We can’t just tell people he’s alive now!” And after panicking, I’d wake up (lol).

――I see.

T: I kept seeing that same type of dream. Even though it’s already been a year. And each time, I’d think, “Would be nice if this [reality] was the dream instead.” That’s the same kind of vibe I felt. From that song.

――I thought of Muma-The Nightmare too.

T: How should I say this…… This is very recent, but my mother passed away. So, you see, that’s just the stage of life I’m at. I don’t really have a lot of happy occasions happening, and funerals keep coming. No matter how you look at it, our lives are also closer to the ending phase than otherwise, right? That’s why I often say, I believe that those of us who are still alive have things that we still need to do. Those who have left us have already done enough so they get to graduate from life and rest. Us, who are still alive, have not yet matured so we have to continue training in this world.

――It would be nice to relax but we have to work hard and train.

T: Yea. Furthermore, we belong to the entertainment industry so our work revolves around bringing joy to everyone. Which means we still have more joy to bring.

――Now that the album is released, concerts will be starting soon. There’s no doubt that it’ll be the first time you’re playing as a band of four, and you’re probably figuring things out but……

T: I’m apprehensive. We frankly have no clue how the audience will respond to a show revolving around the new songs with only the four of us performing. To add, there will be close to 20 songs to sing, and neither Imai nor Hoshino have that experience, do they? Furthermore, the new songs were written with the expectation that they would be sung, so even the arrangements and how they work are completely different from our old songs. All things considered, there’s no way I won’t be worried (lol).

――That’s true.

T: But we’ve also overcome many of such moments before, right? When I think about it that way, I’m sure that we’ll be okay. We’ll be okay, but Acchan was there in those moments I recall. And in our next show, he won’t be.

――…… That’s true.

T: Because it’s always been the five of us, right? Including our years as an amateur band, we’ve been around for almost forty years. We’re close friends and bandmates too. We’re not sick of each other even though we’ve been together for such a long time. We make music together as a band, we drink together too. Everyone’s got their own quirks and we’re all unique people. If we go drinking, Imai will suddenly blurt out our next concept.

――And the four of you will listen and share the theme.

T: That guy won’t talk unless he’s drunk (lol)

――Hahahahahaha. But Imai didn’t tell you about any themes this time when you were making the album.

T: He didn’t. Or rather, he didn’t have to say it for us to get it. Maybe that’s it.

――I see.

T: On the contrary, I think Imai couldn’t compose the way he had until now, where he would imagine Sakurai-san singing and write the music based on his key. So as a songwriter, he was freed from that. And to that end, he probably found a lot of freedom.

――That’s probably right with the music.

T: But it feels like we lost our one-hit KO weapon. You might even feel like something’s missing. But what I think is good about this album is even though his voice isn’t there, even though he isn’t singing, even though the melodies are different, and even though it’s only four people who made this happen, there’s no question that Acchan is in there. Within these 17 songs.

――Ah…… That’s very true.

T: That comes across very strongly in the lyrics too. Yet we have become more free and we didn’t hold back on the music we made. I suppose we have to go even further beyond this.

――I wonder what you need to do to make that happen.

T: Imai and Hoshino just have to work hard (lol).

――That’s of course (lol).

T: I’m just a drummer anyway. A drummer’s job is to play the drums, so I just need to do my best at it. Whether I’m happy or sad or angry, I have to be able to play the drums without being affected by these emotions. That’s why all I can do is to produce my best drumming for the music that Imai and Hoshino makes. To create nuances that makes it easy for everyone to perform and sing to. That’s why although I really only need three takes when we record drums in the studio, it takes a lot of time to decide on the sound and when it’s bad, I’ll have to switch around between a number of snares to try the sound out.

――The sound of the drums in this album’s Meiousei de Shine was impressive. Even though it was unusual that the song had an afrobeat, the drum sound matched it perfectly.

T: Because I used timbales for that song. I often used them in the band’s early days. Like in HURRY UP MODE. And this time, I used this drum (shows a picture). This is about seven by fifteen inches (note: diameter of fifteen inches, depth of 7 inches). It’s big and deep so it gives out a really thick sound. This is the snare that I used for this album’s Raijin Fuuji – Resonance. Also, with that song, I thought a heavy sound would be fitting of the song title so I used this one and hit hard.

――And that’s how you carefully assembled the sound to steadily support the band.

T: That’s what I believe a drummer does. We have to hold up the rhythm accurately. Following that, the guitarists and vocalist can do whatever they want.

――Because of this awareness, I guess it could be said that there’s always a cool factor to a song no matter how emotional it gets.

T: It’s great if that’s true. But jokes aside, this is all so unprecedented. When you lose a singer, you’d normally find a replacement or bring in a new singer, right? But we’re not doing that and have selected people from those of us who remain. You don’t really hear of such things.

――In a sense, he was a singer with a formidable presence who built worlds, so there’s no replacement for such a person, is there? With this in mind, the only option would’ve been to cease activities, but you didn’t do that.

T: I think it’s because of that sense of responsibility. That’s why can only ask all our fans who’ve been with us to please support this second era of BUCK-TICK. Because with Acchan gone, we’re as good as a different band. You could probably tell from the way Imai’s writing more songs that usual that going forward, we’ll have more and more new songs that will become the main music we’ll place. But we’re definitely not forgetting [the past].

――That’s right.

T: With these feelings, we’ll keep the band going until the very end. Compared to back when we debuted in our twenties, the amount of time we have left to do this isn’t much but our feelings are aligned. We want this to last as long as possible.

――So please prioritise your health.

T: My body’s in perfect shape now. I haven’t had a medical check up but I’m absolutely fine!

――Please start with going to the hospital.

T: Ahh, but I eat and shit well!

――Then that’s great…… On the surface. Please go for a proper check up!

T: You sound like my mother (lol).

 

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Editor’s File

This is who we are. In the moment that the curtains close on the album
BUCK-TICK embarked on their second era without a shadow of doubt.

text by Ishii Eriko

At first, it took me white a long time to start listening to one song. The band of five who reached their final form after close to 40 years of evolution, and the band of four who chose to keep going even after their wings were torn off. They shouldn’t be compared against each other, and there’s nothing to be said in comparing them either. We have to respect their decision. Also, this is better than suddenly shutting it all down. There is no choice but to somehow bite the bullet and accept the unavoidable incongruity and unfamiliarity.

Raijin Fuujin – Resonance the single. Although I didn’t have the capacity to feel it, Imai Hisashi was singing “upward air current (joushou kiryuu / 上昇気流)”, then Hoshino Hidehiko came in with “On this earth, this is survival (kono sekai de iki nuku koto da / この世界で生き抜くことだ)” letting us listeners hear his singing voice for the first time. If we see this as the determination of a band starting their second era, then there’s no other option but to accept it. I’m glad I listened to it. Just like that, it was only a few days ago that I managed to finish writing this review essay for this publication. There’s nothing more that I would like to say other than this…… Or so I thought.

When I received the album, スブロサ SUBROSA, I started to write this whole manuscript in one go. I thought, “What on earth, there’s loads I wanna write!” Because this album is very, very BUCK-TICK. This is because it didn’t feel like the work of the four remaining members, rather, it felt like the next release from the band of five who had spent almost 40 years evolving. I’ll just be brutally frank here. BUCK-TICK is still BUCK-TICK.

Firstly, their sound. The simple prediction that gothic elements which dance in the dark nights would fade to give way to a stronger blend of Imai’s cyberpunk specialty did not come true. Dark and edgy, at times reigning as a full-bodied dark art, then glistening pop-like, aggressive rock’n’roll and riotous tribal beats come flying out. The breadth of diversity did not change at all. Rather, now that I think about it, at a total of 17 tracks, it’s firstly a number that I’ve never seen in recent years and it goes far beyond  the spirit of patching things up and doing what you can. It’s more like they cannot help but reach this state of over achievement because they’re just overflowing with ideas. While I won’t get a peace of mind by simply adding eyes to the Daruma with this brush, the way they make their sound sharp as ever has certainly improved. In all seriousness, there are many songs which blew me away.

And the singing. If we only look at the first song, Hyakuman Nayuta no Chiri SCUM there is no denying that the expression is stiff. I looked around and confirmed again and again that there’s only one shouting man before accepting the fact. Nervously, I found the initial message that I wanted to deliver. The lyrics were uncharacteristically straightforward so I could only take it as it is, but this feeling is, in short, similar to what I wrote about in the beginning. It’s like a thesis I wrote in my head.

But all at once, BUCK-TICK woke up from the second song, スブロサ SUBROSA onwards. An agile forward-moving beat. Words and melodies energetically tumbling out. Rather than the head, the body takes back the band. There’s no trial and error. They’re opening door after door with an assertive curiosity. To quote the lyrics, BUCK-TICK is a “Perpetrator of a pipe dream Wilful offender of a bright future”. It’s the Imai Hisashi who’s anarchic and unconventional as always, so much so that I could laugh. And again, Hoshino Hidehiko’s singing is better than expected. This usually aloof guitarist blown around by the wind, displayed an astonishing wealth of emotion and playfulness. After the second half of the song, I suddenly realise that my ears no longer feel strange. Even though I thought that this could never happen.

The three instrumental tracks left a deep impression. They weren’t samplings that sounded like interludes. Depending on the track, they were as long as five minutes, making them soundscapes which unfold over ample time. There is no singing, but they express a distinct mood of “being present”. Being instrumental tracks, they’re free for interpretation but I don’t want to use words like dreamy or profound to describe them. In fact, they’re warmer. I could feel kindness, love lingering close by like an aftertaste. He’s here, still. This is my interpretation of the songs that have no words to explain them.

In fact, he’s there. All five members of BUCK-TICK are present somewhere in the two men’s singing, in each lyric. Most vivid of all is Zetsubou to Iu Na no Kimi e which has music composed by Hoshino and lyrics written by Imai. I think you should first enjoy the song as it is so I won’t go into specifics, but what’s great is how the members complement each other now while coexisting. This is a song that clearly proves that this band is one which takes all pain and turns it into hope for life as they move on. In addition, the album delves deep into the depths of the gothic world from this point on and it happens so quickly that I remember feeling alarmed by it. An enigmatic energy. What is it that allows BUCK-TICK to keep moving so detachedly even in such a situation? It gives me goosebumps all over again, the reality that such a band is making their move again.

The last track is Tasogare no Howling. This might be the very first time that I’m writing about the guitar solo in a BUCK-TICK song, but Imai’s guitar solo which bursts out at the very end was sublime. It resounds in in a way that sounds like wailing but it is definitely nothing like being lost in despair. This is probably enough. This is who we are; in the moment that the curtains close on the album which declares as such, BUCK-TICK has embarked on their second era without a shadow of doubt.

 

 

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Review

Kanemitsu Hirofumi

BUCK-TICK『スブロサ SUBROSA』
Releasing December 4th (ALBUM)

It feels voluminous with a total of 17 tracks, including three instrumental tracks. Following Sakurai Atsushi’s sudden passing, the remaining four members of the band have decided to keep going with Imai Hisashi and Hoshino Hidehiko in charge of vocals. Lyrics gushing with their feelings towards Sakurai and their fans who were left behind on that day are raw and very touching. I was moved to tears by their strength of caring for one another. I truly respect their willpower to continue with the band.

Takeuchi Haruka

BUCK-TICK「Raijin Fuujin – Resonance (雷神風神 – レゾナンス)」
Releasing November 20th (SINGLE)

Raising the curtains on their new era, this single had its lyrics and music composed by Imai Hisashi, with Imai and Hoshino Hidehiko dueting. When you take some of the keywords like “FLY HIGH!!”, “survival (ikinuku / 生き抜く)”, “Set your heart on fire (haato ni hi wo tsukero / ハートに火をつけろ) out of context, I can’t help but feel like they are metaphors of the band’s determination but it’s exquisite how I’ll never get tired of hearing it in their brand of rock’n’roll. In this new, unpretentious step forward for them, I can almost hear Imai’s easygoing voice saying, “It’s fine as it is.”

 

 

Aftershows

2024.10.15
BUCK-TICK

The photoshoot for the special edition PHY was held at a house studio in Tokyo first. After that, we changed locations. This is Kawasaki. We arrived at a large warehouse with an intimidating atmosphere. Today’s shooting location appears to have been used in quite a number of different movies and drama series. Most recently, it was used for a scene in the popular Netflix production, Tokyo Swindlers where Lily Franky got pushed over the edge. “This place?” “Eh. Here?” Imai and Hoshino who have finished watching Tokyo Swindlers were very intrigued. But there was one person who was scared; Higuchi Yutaka who couldn’t handle being in high places at all. He was afraid that the handrails on the narrow outdoor stairs which led to the rooftop were rusty, and he nervously climbed teh stairs while telling himself, “As long as I don’t look down, it’ll be fine”. And for some reason, there was an old tourist cruise boat moored next to the warehouse. It was already night and this boat couldn’t be any creepier. At first, Kanemitsu thought of asking the band to board the boat and have their photoshoot there but Higuchi vetoed the idea (lol). Laughing, Imai teased him saying, “Quick, get up there. It won’t take a second,” while Higuchi-san shook his head with a stiff expression. Hoshino and Yagami laughed as they watched the two of them who so naturally fell into what their relationship might’ve looked like back in high school, while Higuchi-san who was genuinely scared retorted, “It’s no laughing matter!” (Lol)

 

 

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Translation: Yoshiyuki
Scans: Yoshiyuki

BUCK-TICK
スブロサ SUBROSA
Feature

ROCK AND READ 116
December 2024

 

Imai Hisashi/Hoshino Hidehiko

Interview ◎ Okubo Yuka
Photos ◎ Mori Came
Hair/makeup ◎ Yamaji Chihiro (Fats Berry)
Styling ◎ Lui Onozaki (KMRii)
Outfits ◎ KMRii (https://store.kmrii.com/pages/contact)

We are not alone

BUCK-TICK will be releasing スブロサSUBROSA, their first album with their new formation. With 17 tracks recorded including instrumentals, this is a voluminous album unlike any before with a total runtime of more than 72 minutes. I’ll say it first; Imai Hisashi and Hoshino Hidehiko are the vocalists here.

“We are not alone (俺たちは独りじゃない / Ore tachi wa hitori janai)” — Starting with this line, how this album reflects on the fans will of course be to each his own. But this I can say; they have once again brought us a wonderful album teeming with experimentalism which showcases BUCK-TICK’s innovation. At the same time, they’re proclaiming through their music that BUCK-TICK will continue to steadily move forward from here on out.

In this issue, we get to hear from the two who have taken on the role of vocalists in addition to being lyricists and composers, Imai and Hoshino.They’ll talk about each song, and about all things related to the production of this album.

 

profile & information
Formed in 1985, members of the band are guitarist Imai Hisashi, guitarist Hoshino Hidehiko, bassist Higuchi Yutaka, and drummer Yagami Toll. They released their 43rd single, Raijin Fuujin – Resonance on 20 November 2024, and their 24th album スブロサSUBROSA on 4 December 2024. They will hold a concert “Naisho no Bara no Shita” at the Nippon Budokan on Sunday, 29 December. They will then embark on their livehouse tour, “BUCK-TICK TOUR 2025 スブロサ SUBROSA” on Saturday, 12 April 2025.
https://buck-tick.com

 

I might as well take advantage of having no choice but to change to do something interesting

――As we talk about the start of the second era of BUCK-TICK, I’d like us to begin with taking a look back at your 2023 Nippon Budokan performance¹ and how you felt up on stage at the time.

Imai Hisashi (I): Well, the only option was to do it, so. Even though I did get the feeling that it would suck if I didn’t enjoy it, I was still curious about how it would go. There were only four of us on stage, but we also had staff who put things together for us, we had a sort of performance direction, so I kind of felt that it was more or less doable.

――Regarding “how it would go”, are you referring to the performance on the day itself? Or does that include everything about BUCK-TICK thereafter?

I: Just the performance for that day. First of all was to figure out how we’re supposed to execute it in a way that comes across as cool. …… But compared to the very first time we performed on stage, I wasn’t nervous at all, so.

Hoshino Hidehiko (H): Ahahahaha.

――When you mention the very first time you performed on stage, do you really mean the first time in your life?

I: Yeah. During the first time we performed in our lives, Yuta (Higuchi Yutaka) said, “I wish it didn’t have to be today.” (Lol)

H: When he said “it didn’t have to be today”, then, when’s good? (Lol)

I: That’s what Yuta started saying right before we went on stage. But see, that’s also because it was only a week since I started playing guitar and the band was formed (lol). At the time, sure enough, our performance stopped midway, but as we kept going, I gradually started to feel that nerves and all that didn’t really matter. And compared to back then, we’ve got over 35 years under our belt now, so I figured we’ll somehow make it work.

――That was when Imai-san was in high school, right?

I: Yeah. We covered (The) Stalin, and only had 3 or 4 songs in our repertoire. You couldn’t say that we did them any good though.

――And, of course, Hoshino-san was there too, right?

H: I was, in a way (lol).

――Does Hoshino-san remember that occasion?

H: I do, but I don’t think I felt anything close to “I wish it didn’t have to be today.” (Lol) But I was pretty nervous, for sure.

――What did Hoshino-san think about at last year’s Budokan show?

H: Well, it was certainly the first time that we held a concert with the four of us playing our instruments in parallel with Sakurai (Atsushi)’s voice recordings. But it was a concert that I’m glad we did. After it ended, I began to feel that it really was great that we could put on such a show in front of our fans at that time.

When the four of us came together after the funeral service, we talked about doing this with we four. That’s just what it naturally led to.

――During the MC segment of that Budokan show, Imai-san announced that you’re making an album. Your new album, スブロサ SUBROSA² has 17 tracks on it. Was it only after that Budokan show that you arrived at the decision to compose more than enough songs so that you wouldn’t need to perform old songs?

I: Nope, likely before that. There already were a few songs that I started work on even before that concert. So, with the intention of composing something for the next BUCK-TICK, the four-man BUCK-TICK.

――And shortly after that, you said that Imai-san and Hoshino-san will sing instead of getting someone else to come in as the main vocalist.

H: That was the only option, right?

――Hoshino-san hasn’t done any main vocalist parts in BUCK-TICK until now, but you seem to have accepted this without much resistance.

H: Somehow, that’s how it turned out, yes.

――But Hoshino-san didn’t actually volunteer and say, “I’ll sing”?

H: I didn’t raise my hand for this but that’s how it ended up.

I: Nah, I raised volunteered myself (lol). Although I didn’t say anything like, “Hide (Hoshino), you’re singing too.”

――So what’s the truth? (Lol)

H: I forgot (lol).

――But you were prepared?

H: That’s right. When the four of us came together after the funeral service, we talked about doing this with we four. That’s just what it naturally led to at the time.

――Since that’s the case, wouldn’t the two of you have another level of expectations towards what you put out since you’ll be playing the guitar and singing as well? Similarly for the production work with song and lyric writing too?

I: You mean, pressure?

――Yes. Did you feel pressured in any way?

I: We decided to enjoy the process, with that included. You probably shouldn’t compare those things but I guess in the end, people would still do that, I suppose. After all, we’re using the BUCK-TICK name. I guess it can’t be helped.

――What about Hoshino-san?

H: Rather than pressure, I certainly felt uneasy since we were truly starting from zero, but gradually, I could feel that uneasiness become anticipation.

In the previous album, we composed a song with lyrics already written called スブロサ (subrosa).
Acchan mumbled about wanting to do that song too.

――When you actually started making music, did the two of you talk about things like the direction of the new BUCK-TICK?

I: When the four of us met to talk and decided that we would continue, the very next question was, so how were we going to do this? Bringing in another vocalist wasn’t possible, so then we decided to make things work among the four of us. We had rough ideas, like including instrumentals and that if we were to sing, it would realistically be with the two of us, things like that. From there, we gradually started playing around with the melodies. That’s roughly how it went. That’s why the melodies definitely had to change, and I guess that’s also something I enjoyed the process of.

――When you talk about changing the melodies, do you mean you’ll be making music based on the vocalist’s voice and vibe going forward? Although that’s what you’ve always done.

I: That’s right. Because I thought I had been composing without restricting myself thus far, but I came to realise that maybe not after all.

H: When I think beforehand about things like the fact that I’m going to record the vocals myself for the songs I compose, it would realistically be pretty impossible to execute without putting some restrictions on the melodies, so. There’s definitely some element of having to think about that while composing.

――Previously, when we conducted a solo interview³with Hoshino-san, you said that you had to change the music you composed, but now, with this sudden turn of events, you’re in a position where you have no choice but to change it.

H: You’re right. At the time, I probably wanted to break my own limitations more or something, but I think I was talking about how it would be nice if I could reach new horizons. But this time, the evolution happened naturally.

――Being a vocalist, guitarist, and a stage performer, does this mean that the two of you have been talking more than ever?

I: Nope, I don’t think we talk that much when it comes to music arrangement. Because recording work mostly progresses according to the arrangement that has mostly been 100% decided by the composer. But the setup of the instruments on stage won’t only be a guitar. A synthesiser will also be there so I think we’ll be having discussions about that in future.

――So even the instruments on stage will change.

I: The way we’ve always done it so far with Sakurai-san being our frontman while we play guitar in the back is completely gone now so I guess you could say that’s something that we have no choice but to change. Which is why I thought I might as well take advantage of the changing arrangements to do something interesting. We’ve got instrumental tracks with no singing parts, we also had videos made to show. In other words, the typical staging of a rock band, what we have for BUCK-TICK thus far is something that is going to change bit by bit. That’s why it’s something else to look forward to.

――As production progressed, were there any changes you made compared to previous years?

H: When I think about having to sing while playing the guitar, I changed all the arrangements from how we used to do it, and we used the synthesiser comparatively more than before. You could say that the share of responsibilities changed a little bit so that’s definitely different than what it was before.

――When I listened to the album, not only did you not hold back on the main vocals, but even the chorus work was well. Is there anything you came to realise after singing this time around?

H: It’s no doubt difficult but I guess it wasn’t that bad. I got chorus parts too so it felt like there was more [to sing] than I expected though.

I: Nah, it was tough. I didn’t think about the chorus arrangement at all so we had director Tanaka (Jun’ichi) do the thinking for us. So there and then, we thought about which songs Hide should sing on, the consistency and all sorts of other elements while recording.

――Now, we’ll move on to properly talking about the songs in your album, スブロサ SUBROSA. The first track, Hyakuman Nayuta no Chiri SCUM. Is this the start that Imai-san planned to have?

I: That’s right. You could stay this is a song with sound effects. It starts off slow and gradually the members’ instruments come in. It’s a song that was composed with the intention of making it the first track from the very beginning.

――It begins with Imai-san’s guitar and singing, and then the second guitar comes in only around the end of the first verse.

H: Right. The arpeggio comes in around the second verse. The melody is always there so it’s a song that’s easy to listen to. I have the impression that before this song came about, we had quite a few other types in the beginning which shared a similar rhythm to TIKI TIKI BOOM so we thought we should definitely have such melodic tracks too.

――What kind of image did you have in mind when you wrote these lyrics?

I: I matched whatever I came up with to the music.

――That’s how it works for all songs (lol).

I: The working title was “nayuta”, so, nayuta (那由他) is a word that represents “a large number”, right? Then, I just got the idea of attaching “a million” (hyakuman / 百万) to it which now makes it a tremendous [figure], and the whole phrase is pretty euphonic so that’s how the phrase “hyakuman nayuta” (百万那由多) came about. Then, I thought about what words to connect this to, and the idea of trash (chiriakuta / 塵芥) came to mind. So, instead of “akuta” (芥), I switched it out for “SCUM” because it looks more crude, so I liked that better.

He’s probably travelling around to all sorts of places, maybe he went to the sun,
to the moon.  Now, I think he’s probably flying everywhere.

――When the numerous droplets of sound expand to create a feeling of connection with the universe, it felt like it’s wrapping up all the different emotions I felt through the past year. The next track, スブロサ SUBROSA is also the album title and it’s an industrial hip-hop track that I don’t think you’ve done before. 

I: When the Chemical Brothers came, I went to watch them. And I thought doing a song without any guitars present, like this one, was a pretty good idea too so I did some programming at home. As the snare hits, I wanted the pitch to rise with it but although it sounded simple, didn’t know how that works. So to start, I had to go research and figure out how to raise the pitch and all that. Then I wondered whether there was anyone who did this stuff on YouTube, and when I tried searching, I found quick and easy ways to do this stuff and people who taught programming. And it’s all free (lol). It was interesting to figure out how to make things work while watching those. It took quite some time but I had fun making things at home.

――So even Imai-san learns from YouTube.

I: I just wanted to try doing it myself. Instead of always going to Yoko-chan (manipulator Yokoyama Kazutoshi) and saying “like this”. Techno music guys who have always done these things have probably developed muscle memory so I think they’ll be able to get everything done in one shot but since I don’t know how they do that at all. I set the starting pitch here and the ending pitch here, then create the waves there. I learned that such a function exists. But if I don’t do it often enough I‘d forget. Probably, if you asked me to do it now, I think I’d get stuck wondering how to do it (lol).

――This song doesn’t have guitars, right?

I: While recording this, people around me kept asking, “Are you really not going to put guitars in this?” a number of times. When they sounded like they were going to give up, I started to wonder whether I should include guitars, so I did waver a bit for a moment. But even if we were to add guitars, it’s not as simple as just saying it. Also, if there were guitars in this track, it would turn into just another normal one, so.

――Did Hoshino-san also question his decision?

H: Nope, I probably didn’t say anything (lol). He spoke about doing it without the guitar so we didn’t, but for live performances, we’re planning something fun there.

――Then, this will become one of the things to look out for in a live performance. SUBROSA also means “secrecy under a rose”, but what are your thoughts about this word?

I: I’ve known for some time about the concept of hanging a rose above a room if the conversations there were secrets, not to be said to outsiders. During 異空 -IZORA-⁴, we had a composed song with lyrics already written for it called スブロサ (subrosa). Although it was completely different than the 4/4 kick track that we have in this album.

――Oh, I see.

I: But it was dropped from 異空 -IZORA- and I thought it would be a good idea to put it in the next album instead. At the time, Acchan (Sakurai) mumbled about wanting to do that スブロサ song too. The song has changed since then, but with the band being four members now, I thought it would be nice to make it the album title instead.

――Also, there was a line in the lyrics, “Alpha Bravo Charlie Delta Echo Foxtrot”, which sounded like some sort of code but when I looked it up, they were words used for communication.

I: It’s a set of words for times like when you can’t tell whether it’s a B or a D, you distinguish it by saying “Bravo” or “Delta”. Once, I overheard the workers who came to my house for installation works using those words in their conversation. That was when I realised people really use it for long alphabetic codes. I thought it was cool.

――So that’s how it came about. Then, what about the line with “Kitsune Ookami Hebi Fukurou Kuroyagi Yamaneko Karasu Taka (狐 狼 蛇 梟 黒山羊 山猫 鴉 鷹)”?

I: Hunters and tricksters.

――I see. It’s fun deciphering all these. Next, we have Muyuubyou SLEEP WALK (夢遊猫 SLEEP WALK), a song with a comfy floaty vibe.

I: We used both drums and metal percussion. I like that the rhythm feels kind of rowdy.

――I also like how you switched out the “病 (illness; byou)” in muyuubyou (sleepwalking disorder; normally written as 夢遊病) for “猫 (cat; neko, alt. reading byou)”.

I: The words just came naturally. They popped up in my head when I was making the demo tape at home.

――I see. The line, “Yoru no sanpou wo shinai ka ne (夜の散歩をしないかね / Shall we take a stroll in the night?)” is……

I: RC Succession.

――So it’s one of the songs by RC Succession. From Now On is a song with music and lyrics composed by Hoshino-san. It has an interesting format where you’d think it was going to be an instrumental track until the vocals come in.

H: For this song, I wanted to make half of it feel like an instrumental track. Then maybe later on, the two of us would come in with our guitars. The singing, I used a vocoder. The lyrics, the chorus, they were all short so I made this track thinking I should just write the lyrics myself.

――Was the intertwining of the twin guitars’ sound already complete at the demo stage?

H: I just added a gweeeeen kinda sound then in the studio I had them do it randomly (lol).

――Randomly (lol).

I: The noise guitar part.

H: Yeah, with the noise guitar (lol). So, in the demo, the pitch shifting…… thing, what’s it called? The red thing.

I: Whammy!

H: Ah, yeah, yes. The whammy.

I: Huh? You play guitar, right? (Lol)

H: I used the whammy (in the demo) but when we actually play, the…… guitar, what’s it called?

I: Mine!? STABILIZER.

H: Yes, we used the STABILIZER (lol). Really, I’ve been terrible like this lately.

I: In the studio, he told me to play the noise with a very impressive feeling. So I first started with a gaaa on the STABILIZER and recorded a pretty good take in one go. Afterwards, I added in the whammy on top while listening to it but somehow it wasn’t as effective as I hoped it would be. So I decided to do it without the effector and in the end, only the main guitar sound was used. And that’s why it’s not a very good idea to add on an effector only afterwards (lol).

H: This made it a lot like a take from our early days.

――So, the lyrics are entirely in English. Was there a theme you wanted to follow here?

H: The theme is, something I wrote addressed to ourselves and the fans. Normal and direct, not much depth in meaning (lol).

――No no, I think it’s a very heartening message. Rezisto is a song that uses programmed drums instead of live drums, right?

I: Such a slow and heavy song is what we used to call trip hop in the past. The parts are from a synth bass.

H: The guitar parts are simple, the usual. The programmed rhythm feels like it piles together quite a bit so we felt keeping it simple would be best. Just adding in gaaa-sounding noise in the chorus turns it into a rather deep sound.

――Next, the artistic instrumental track, Shinkeishitsu na Kaidan. The bubbling droplets of sound and the bass which comes in with a boom really left an impression on me.

I: I’ve always wanted to make an electric, ambient instrumental track that could be interesting to tie to a video but with the number of tracks we have this time, I felt it would be a better flow if we had such a track in the middle. In terms of Yuta’s bass playing, we were talking about something when he said something along the lines of absolutely wanting to include it in no matter what so there it is (lol).

H: Ah, really?

I: Yeah. I just said, “OK, got it.”

――Did Yuta-san say that after hearing the demo of this song?

I: No, it wasn’t only about this song, he meant it on the whole. He just wanted to play his bass in any case. But since there are areas where I wanted bass sounds, these are the parts where I tried having him play to see how it’ll turn out. In future, we might just release instrumental tracks where none of us are playing anything, so I thought it would be better to continue experimenting.

By the time the album is complete, I would have an idea of what to do next.
I look forward to it because this happen. Because I simply never run out of things I want to try.

――Since you said that, then the 11th track, Strelitzia (ストレリチア), is an instrumental track that has the four of you playing on it, right?

I: Right. That’s a song that has the four of us playing as a band. 

――Does the oriental sound come from Hoshino-san’s sitar?

H: Yeah, I used an electric sitar.

――And the guitar that Imai-san used?

I: Had a sitar effector applied.

――Strelitzia is the name of a flower, but what imagery is this track linked to?

I: I can’t quire remember what sparked the idea, but I came to learn of the name Strelitzia from somewhere, and found the flower itself interesting too, so I decided to make it the song name. When I looked it up, I also realised that its Japanese name is “極楽鳥花 (gokuraku chou ka / bird of paradise flower)” and found it rather apt.

――Rajin Fuujin – Resonance (雷神 風神 – レゾナンス) was released in November as a lead single⁵. With Imai-san and Hoshino-san’s duet, it was a clear and easily understood sign that this would be the style of the second era of BUCK-TICK.

H: That’s right. That’s one of the reasons why it was chosen to be the single. It’s a song that gives an idea of our future.

I: It’s one of the first songs I composed and it’s a major chord melody, so I felt this would be a good one to release first. The album version has a longer intro than the single.

――It’s a good-feels song with an energy that seems to blow the clouds away to leave a sunny sky. In Ogata Kourin’s paintings on bi-fold folding screens featured the Thunder God (raijin / 雷神) on the left and the Wind God (fuujin / 風神) on the right. Imai-san’s and Hoshino-san’s positions [in the music video] were similar so that image came to mind.

H: Oh, really? (Lol)

I: That’s…… unrelated (lol). Besides, Gunma’s Jomo Karuta also has a card for “雷と空っ風 義理人情 (rai to karakkaze giri ninjou)”. 

――On the single is a remix by Pasocon Music Club. How did that turn out?

I: It became Pasocon’s music (lol).

H:  A member of our staff knew them so this time, we asked them to do it. I feel like it became something that’s unlike our usual remixes.

――Meiousei de Shine (冥王星で死ね) has an afrobeat and expressions that have a nice ring to them. It feels uplifting.

I: Simple with an afrobeat. I wanted it to be a song that is propelled by just the rhythm of the words and the beat. A song that feels like a ball of energy.

――While it featured the both of you singing, the way the two guitars came together left quite the impression too.

H: Right. I think that’s about it for songs where our guitars do that in this album. Although such intertwining is something we often did in the past too.

――Yuusei Tsuushin (遊星通信) was also interesting with how a spacey ambience was applied to a shuffle groove.

I: This is a song that started developing from a riff. Something like this probably fits a slightly retro synthesizer too.

H: “BUZZ BUZZ NOISE” and “BUZZ BUZZ VOICE” are in the chorus but when I tried to sing it at home while playing the riff, I found that it was actually pretty difficult (lol).

I: I also tried doing it when practicing at home. I think it’ll somehow work out if we pack it in a a bit though.

H: It feels like maybe I can just barely do it? But I also get the feeling that I can’t cut corners so, this is going to be tough. But I’ll do my best (lol).

――Next up is paradeno mori, an upbeat dance tune with music and lyrics composed by Hoshino-san.

H: I wrote this song with the intention of making it an upbeat one. I didn’t intend to write the lyrics but the first line just came to me so I thought, I’ll just try to go with the flow like this and this is what I got in the end.

――So you’re saying that it was never intended for the song composer to also write the lyrics?

H: Not at all, I was going to ask [Imai] (lol). But when I was recording the scratch track, the first line, “How’s the wind there? (socchi no kaze wa doudai / そっちの風はどうだい)” came up, which made me decide to give it a go. And then, the song naturally turned out this way.

――While hearing references to lyrics from past songs was fun, I also felt touched by how it sounded like you were singing this to Sakurai-san.

H: I wrote the lyrics with the sentiment that he’s probably travelling around to all sorts of places. I wonder if he visited the sun or the moon. And while thinking like this, different old songs came to mind. And when I wrote while looking at those lyrics, this is what it resulted in.

――Makes you wonder where he is now, doesn’t it? Maybe he’s visiting the beach?

H: Yes, exactly (lol). I think he’s probably flying everywhere.

Even we are discovering ourselves how things would turn out.
So this is an album that we made while enjoying that process.

――For Zetsubou to Iu Na no Kimi e (絶望という名の君へ), you relied on Imai-san for the lyrics.

H: I asked him for “something that packs an emotional punch”.

――So, Imai-san, undertaking this, what kind of image did you write these lyrics with?

I: When he said, “something that packs an emotional punch”, I thought, “But isn’t that what I always do?”. This is the first time I wrote lyrics for Hide’s music, so I picked up the sound at home and then broke up the notes. But I had the idea that even if [the words] didn’t fit perfectly, the composer himself should be able to interpret it. I started work from that perspective but I was done relatively quickly. As I listened to the music, I got a vague but strong image. That I didn’t want it to be a weak song. [But] something that feels powerful. From there, I got my reference image.

――Was the melody already firmly decided when Hoshino-san was working on it?

H: It was when I passed it over, but the division of the notes more or less changed due to the lyrics, so I got a version with Imai-san’s singing first. After that, I sang back it myself ahead of the actual recording.

――When Imai-san wrote the lyrics, could you hear Hoshino-san’s voice or did you already have an idea of how Hoshino-san would sound?

I: That, no. Not yet.

H: I’m still new (lol).

――How did Hoshino-san feel seeing the lyrics that he wrote?

H: It was what I expected. Singing it was great too.

――Did your emotions take a hit when you sang?

H: Because when I sang, I sang in full seriousness (lol).

――I see (lol). When I see words like “絶望 (zetsubou / despair)”, “光 (hikari / light)”, and “希望 (kibou / hope)”,  I somehow found myself linking them together and kept wonder whether “絶望という名の君 (zetsubou to iu na no kimi / you who’s named despair)” is Sakurai-san.

I: No (lol).

H: Apparently not (lol).

――So it seems (lol).

I: This isn’t a song that’s about a specific “something”, it’s more of a bigger, powerful song.

――Understood. Next, TIKI TIKI BOOM. This track has a memorable tribal rhythm.

I: The phrase “TIKI TIKI BOOM” came first. This is another song where the arrangement was vaguely set while building things up from the rhythm. In other words, it sprouted from the phrase and the rhythm. It’s as if I solidified whatever was spilling out from inside of me.

――Hoshino-san is in the chorus here too, right?

H: That’s right. Only the chorus, I believe.

――Pushukee -PSYCHE- is another track that has music composed by Hoshino-san and lyrics written by Imai-san. The simple structure makes it cool.

H: This song is made from the rhythm and the main synthesiser, or rather, the synth bass. The rhythm was programmed but it was quite detailed so we decided to base the song on that.

――I think it leaves quite an impact because of the repetition of the verse and the chorus.

H: Instead of the fixed structure we’ve used all this time, we wanted to go with a slightly different composition. Rather than going with verse, pre-chorus, bridge and the usual, this is a much simpler song.

――Is that the theme of this album? To change the format you’ve been using so far?

H: We more or less spoke about it so maybe that ended up turning apparent, on the whole.

――Right. In the chorus, is the guitar that comes in with the singing played by Imai-san?

I: The single note?

――Yes, that.

I: That complicated bit, right?

H: Ah, right, the complicated bit.

I: The suuuper complicated bit.

H: Hoshino’s complicated bit was done by him, as it was written (lol).

――At the very least, I understand very well now that it’s definitely complicated (lol).

H: Although it’s being played by me, who has to sing too. But since I have to sing here, there’s no other option (but to ask him to play for me) (lol).

――The lyrics of the chorus and that single note guitar melody put together really cuts straight into the heart. I really like that part. When Imai-san received this song, how did you go about coming up with the lyrics?

I: For this track, once I got the music, the image came to mind very quickly. The lyrics themselves flowed out quite smoothly.

――Psyche is the name that appears in Greek mythology, right?

I: It basically means life or soul.

We’re off to a good start with the completion of this album.
I feel that there’s still a lot of possibilities as to what we can do.

――The manipulator for Hoshino-san’s music was Cube Juice-san. For Imai-san, it was Yokoyama Kazutoshi-san. But there was one song, Gabriel no Rappa (ガブリエルのラッパ) which was handled by YOW-ROW-san. I would appear that he turned it into a heavy and theatrical number, similar to Warukyuure no Kikou (ワルキューレの騎行) from your previous album, 異空 -IZORA-.

I: That’s right. Because YOW-ROW-kun makes a song three dimensional by adding sounds from various angles. This song was also built on hip hop as a foundation, so the idea was to add the words and the rhythm on top of that.

――The last song by Imai-san and the synth-only part was also by YOW-ROW?

I: That’s right. I don’t think there was any singing there in the very first arrangement.

H: He added the percussion too, right? YOW-ROW-kun.

I: Mm, right.

H: He contacted me about something else. And then he said, “That was cool, innit?” (Lol)

――Next, the third instrumental track, Kurage (海月). Is this song fully programmed? Not even Yuta-san’s bass is in it, right?

I: I don’t think it is in this one. It’s an ambient instrumental track, so I wanted it to be something that could make listeners feel good. While working on it, it started to get this watery vibe and that’s when I got the idea to title it “kurage (海月 / jellyfish)”.

――And here, you used ZTAR’s new MIDI guitar.

I: It just so happened, or rather, it was finally released. I thought I’d use it a little during recording as a symbol or a marking of sorts. Somehow improvise and try not to overplay. I think it turned out nicely.

――And the last track is Tasogare no Howling (黄昏のハウリング). Imai-san’s sound through and through.

I: I thought it would be good to have a slightly longer song that progresses with calm vocals and a synth bass.

H: In this song, I did a bunch with the chorus too, and of course the guitar. It’s a song appropriate to come last. It makes you feel like “that’s just how things go”.

――Did Imai-san compose this song with the intention of making it the last track?

I: More or less. It wasn’t a guitar solo at the end though. More like a guitar running wild.

――It brings to mind the image of Imai-san playing the guitar as the last one left on stage. Have the two of you more or less decided on the stage concept for this year end’s Budokan show⁶ and next year’s tour⁷?

I: There is [a concept]. There is, but……

H: We’ll end up spoiling the surprise. So, just look forward to it (lol).

――Right (lol). The album marking the second era of BUCK-TICK was completed after a year but looking back, what does this album mean to you?

H: Having to start from nothing, there were times when I wondered whether we could really pull it off, but just like that, we made it. And we’re not exactly reintroducing ourselves but…… it’s an album that says, “This is what came out of our efforts.”

I: Even we are discovering ourselves how things would turn out. We’re getting a sense of what an album made by the four of us looks like. So this is an album that we made while enjoying that process.

――I’m sure you’re looking forward to finding out what kind of reception this work will get once it’s released.

I: Recording is done, but ahead of us is the work we need to put into figuring out how all of this will be done in a live show, so that’s also something I’m looking forward to.

――This may not be something to talk about in this interview, but on the way home after an interview that Imai-san and Yokoyama-san did for another publication, Yokoyama-san asked me, “Among the songs in this album, are there any which get you wondering how it would sound if Sakurai-san sang it?” Since I was asked, I thought back and realised that it never even crossed my mind once, and I replied, “There aren’t.”

I: I think Yoko-chan probably wanted assurance on that. If there were any songs that made you wonder about how it would sound with Acchan’s voice, then he’d know, “Ah, I’m still stuck in the past.” From a musical standpoint. That’s why Yoko-chan needed that confirmation (lol).

H: Maybe it’s better to keep this in? (Lol)

一一When I listened to スブロサ SUBROSA, I naturally thought that this was definitely an album by BUCK-TICK album, and while I honestly did feel melancholic at times, I was reminded of the power of BUCK-TICK and the underlying strength of its four members. Could you both share what you see in BUCK-TICK’s future at this time?

I: It’s the same as usual, but by the time the album is gradually completed, I would already have an idea of what I want to do next. It’s definitely because this happens that I look forward to it. Because I simply never run out of things I want to try.

H:We’re off to a good start with the completion of this album. I feel that this start of an album shows that there’s still a lot of possibilities as to what we can do.

 

 

 

 

Notes:

¹ Nippon Budokan performance = “BUCK-TICK Genshou -2023- (バクチク現象 -2023-)” which was held on 29 December 2023.

² スブロサ SUBROSA = Their 24th album. Released in December 2024.

³ Solo interview = Hoshino’s personal interview published in issue 104 from December 2022.

⁴ 異空 -IZORA- = Their 23rd album. Released in April 2023.

⁵ Lead single = Their 43rd single, Raijin Fuujin – Resonance (雷神風神 – レゾナンス). Released on 20 November 2024.

⁶ This year end’s Budokan show = “Naisho no Bara no Shita (ナイショの薔薇の下 / Under the Secret Rose)” which will be held at the Nippon Budokan on 29 December 2024.

⁷ Next year’s tour = The live house tour, “BUCK-TICK TOUR 2025 スブロサ SUBROSA” which starts on 12 April 2025.

 

 

 

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Yokoyama Kazutoshi

H.U.G

Interview ◎ Okubo Yuka

 

We hear from Yokoyama Kazutoshi, who was in charge of manipulation for 12 out of the 17 tracks in BUCK-TICK’s new album, スブロサ SUBROSA, about the recording work.

 

profile & information
Manipulator, keyboardist, and percussionist of H.U.G, the band formed by Angelo and D’ESPAIRSRAY’s Karyu. He also works as a manipulator for the recordings and live performances of numerous bands, including BUCK-TICK.
https://hug.bitfan.id

Once it strikes five in the evening, you’d hear
the clicking of his shoes as he comes in to start vocal recording.
So my mind conjured up the way it’s been all this time
while I worked.

――When Yokoyama-san heard Imai Hisashi-san’s announcement last year on 29 December that [the band] will be making a new album, what thoughts came to mind?

Yokoyama (Y): I felt a strong, unstoppable will. But actually, I already heard that he had started writing a lot of music. It’s just that I had the thought that they probably couldn’t make the type of music, the lyrical songs that they have been making until now, so I was in part excited, in part anxious about what kind of songs they’ll come up with.

――Any specifics on what you were anxious about?

Y: About BUCK-TICK songs that don’t have Atsushi-san singing, and how that would affect the listeners’ perspectives. In terms of Hide-san’s singing, we managed to create works with a variety of possibilities, including sound.

――How did you feel after actually listening to the demo tapes that Imai-san made?

Y: Both the rhythms and the beats have a quality unlike anything they’ve done so far. And you could say it sounded Western to me. Instead of something Japanese, I got the sense that it could turn into something that has an international appeal.

――Did anything change with regards to the production process?

Y: Until now, the songs are completed with the music and singing of five people, but this time, [there are tracks where] there’s no drums, there’s no guitar, those kinds of irregular arrangements which Imai-san made decisions on from the very beginning. This time, there’s no Sakurai-san coming in at the very end to stamp the mark of BUCK-TICK on the songs, and I was worried about how the BUCK-TICK signature was going to come in at the end so I was checking with Imai-san on every occasion. However, we’re talking about a band who’s like a huge bathtub that can take in anything and everything, so I came to understand better than ever before that this is something to tackle head on without hesitation.

――Including your discussions with Imai-san, which song in this album made the biggest impression on Yokoyama-san in terms of production?

Y: The first track, Hyakuman Nayuta no Chiri SCUM (百万那由多ノ塵SCUM) starts with Imai-san who is then gradually joined by the other band members. On top of that, he said that he wanted to start the song with noise, so I had to keep in mind to make sure that [the noise] isn’t too obtrusive while the band slowly comes together to layer up. I also had the idea that the song had to have this sense of being able to see the future, to see light ahead, so I remember working on this very carefully, part by part. Although, for this album, there were so few occasions that I had to redo everything to the point that I actually asked Imai-san, “Why are you giving me the OK so quickly?” (Lol) The gap between the world that Imai-san perceives and what I create has closed so I thought it was a good thing.

――When you mention that the gap has closed, do you mean that it’s easier to envision the scenes for each song or what is needed for each song?

Y: It might be presumptuous of me to say this, but I’ve grown aware of what I would propose if I stood in Imai-san’s shoes. I believe that we cannot move in the same direction if I can’t match what he feels. In terms of the atmosphere that he seeks for each song, he would always tell me it’s “something like this” at the very beginning, but maybe this time, I thought about why Imai-san would give such instructions to me and could actually get an idea of the reason behind his words.

――Were there occasions when Sakurai-san came to mind during recording?

Y: I had always been conscious of Sakurai-san when in the studio. Once it strikes five in the evening, you’d hear the clicking of his shoes as he comes in to start vocal recording. So my mind conjured up the way it’s been all this time while I worked. I believe that everyone worked [on this album] with the hope that we’d make something he wouldn’t feel embarrassed to listen to so I did my best to not hold back.

――This is related to a question that I asked Imai-san and Hoshino-san during their interview for this magazine issue, but I’d like to ask Yokoyama-san the real reason behind why you asked me, “Among the songs in this album, are there any which get you wondering how it would sound if Sakurai-san sang it?”

Y: I’d think everyone’s tried imagining it. Like, if Sakurai-san sang this song, it would probably sound like this or that. I think it’s only natural that people would think about it and I think it’s fine as it is, but I genuinely just wanted to get some affirmation that Imai-san and Hoshino-san’s vocals have been established as a work of their own.

――How do you feel after giving the completed スブロサ SUBROSA another listen?

Y: To me, the first track to the 6th are songs that are meant to show the new developments within Imai-san. Because the order of these songs is pretty aggressive. So I can feel Imai-san’s determination. Hoshino-san’s songs are also sandwiched nicely [in between Imai-san’s songs] that comes across great. And when the final track, Tasogare no Howling (黄昏のハウリング) ends, it circles back to the start again. Imai-san had already decided on the placements of the first and last tracks from the very beginning, so we made the album start and end in a way what fits that vision. I think it’s a pretty interesting album format. And that there’s a whole lot of energy packed in these 17 tracks.

――What does Yokoyama-san hope for BUCK-TICK going forward?

Y: I don’t believe they’ll wither away, so I’m not worried about their music or their work at all. I only hope that they’ll take good care of their health, and continue to be a band that brings us excitement. Because there’s definitely no other band like them after all. I hope they will continue to excite and thrill us all.

 

 

 

 

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Translation: Yoshiyuki
Scans: Yoshiyuki

Album cover of スブロサ SUBROSA, BUCK-TICK

2024.12.04 | Victor Entertainment
スブロサ SUBROSA

Words by Imai Hisashi

Music By Hoshino Hidehiko

Japanese

 

腐敗するオマエがゆく
祈りと希い両手に持って

腐敗するオマエは命
暗い夜に輝く命

地上の死を知っているか
地上の死の理由を

地上の死を知っているか
地上の死の理由を

愛するオマエがいる
祈りと希い 心と魂

地上の死を知っているか
地上の死の火花を

地上の死を知っているか
地上の死の火花を

愛するオマエも命
Cry 叫ぶ 蠢く命

地上の死を知っているか
地上の死の光を

地上の死を知っているか
地上の死の光を

地上の死を知っているか
地上の死の理由を

地上の死を知っているか
地上の死の理由を

Romaji

By: Yoshiyuki

Fuhai suru omae ga yuku
Inori to negai ryou te ni motte

Fuhai suru omae wa inochi
Kurai yoru ni kagayaku inochi

Chijou no shi wo shitteiru ka
Chijou no shi no riyuu wo

Chijou no shi wo shitteiru ka
Chijou no shi no riyuu wo

Aisuru omae ga iru
Inori to negai Kokoro to tamashii

Chijou no shi wo shitteiru ka
Chijou no shi no hibana wo

Chijou no shi wo shitteiru ka
Chijou no shi no hibana wo

Aisuru omae mo inochi
Cry Sakebu ugomeku inochi

Chijou no shi wo shitteiru ka
Chijou no shi no hikari wo

Chijou no shi wo shitteiru ka
Chijou no shi no hikari wo

Chijou no shi wo shitteiru ka
Chijou no shi no riyuu wo

Chijou no shi wo shitteiru ka
Chijou no shi no riyuu wo

English

By: Yoshiyuki

You who’s decaying approaches
Hopes and prayers held in both hands

You who’s decaying are life
Life which shines in the dark night

Do you know about earthly deaths
About the reason for earthly deaths

Do you know about earthly deaths
About the reason for earthly deaths

You who’s loved exists
In hopes and prayers In heart and soul

Do you know about earthly deaths
About the sparks of earthly deaths

Do you know about earthly deaths
About the sparks of earthly deaths

You who’s loved are also life
Cry Screaming writhing life

Do you know about earthly deaths
About the light of earthly deaths

Do you know about earthly deaths
About the light of earthly deaths

Do you know about earthly deaths
About the reason for earthly deaths

Do you know about earthly deaths
About the reason for earthly deaths

Album cover of スブロサ SUBROSA, BUCK-TICK

2024.12.04 | Victor Entertainment
スブロサ SUBROSA

To You Who’s Named Despair

Words by Imai Hisashi

Music By Hoshino Hidehiko

Japanese

 

目を閉じて夢を見る
きれいで温かい夢
死を恐れ 闇に怯え
嵐に傷ついても

絶望という名の君を強く抱いて
決して退かずに歩んでゆく

きっと 人は皆 そうやって
生きてゆくのだろう
君は もう 優しい光 それを希望と呼ぶ

目を閉じて祈りを
流れ星に祈りを
息をする 上を向く
かわいい顔で笑う

絶望という名の君を強く抱いて
決して退かずに歩んでゆく

きっと 人は皆 そうやって
生きてゆくのだろう
君は もう 優しい光
それを希望と呼ぶ

いつか 見た夢は 忘れない
目を開けて進む
君は もう 優しい光
それを希望と呼ぶ

それを希望と呼ぶ
それを希望と呼ぶ

Romaji

By: Yoshiyuki

Me wo tojite yume wo miru
Kirei de atatakai yume
Shi wo osore Yami ni obie
Arashi ni kitsuite mo

Zetsubou to iu na no kimi wo tsuyoku daite
Kesshite hikazu ni ayunde yuku

Kitto hito wa minna sou yatte
ikite yuku no darou
Kimi wa mou yasashii hikari
Sore wo kibou to yobu

Me wo tojite inori wo
Nagareboshi ni inori wo
Iki wo suru Ue wo muku
Kawaii egao de warau

Zetsubou to iu na no kimi wo tsuyoku daite
Kesshite hikazu ni ayunde yuku

Kitto hito wa minna sou yatte
ikite yuku no darou
Kimi wa mou yasashii hikari
Sore wo kibou to yobu

Itsuka mita yume wa wasurenai
Me wo akete susumu
Kimi wa mou yasashii hikari
Sore wo kibou to yobu

Sore wo kibou to yobu
Sore wo kibou to yobu

English

By: Yoshiyuki

Close your eyes and dream
A warm and beautiful dream
Even if you fear death, are afraid of the dark,
are hurt by the storm

I’ll hug you tightly, you who’s named Despair
We’ll definitely keep walking without retreating

I’m sure that’s how all people live their lives
You’ve become a gentle light
And that’s what we call hope

Close your eyes and wish
Wish upon a shooting star
Breathe, look up,
and smile with a sweet face

I’ll hug you tightly, you who’s named Despair
We’ll definitely keep walking without retreating

I’m sure that’s how all people live their lives
You’ve become a gentle light
And that’s what we call hope

Someday, you won’t forget the dream you saw
Open your eyes and go on
You’ve become a gentle light
And that’s what we call hope

And that’s what we call hope
And that’s what we call hope

Album cover of スブロサ SUBROSA, BUCK-TICK

2024.12.04 | Victor Entertainment
スブロサ SUBROSA

Words by Hoshino Hidehiko

Music By Hoshino Hidehiko

Japanese

 

Hey you! そっちの風はどうだい気持ちいいかい
Hey you! ワインも煙草も手に入れただろう

Hey you! ギラギラ太陽は燃えていたかい
Hey you! 浜辺でビキニも見つかっただろう

闇からの風にマントを翻し
目指すのはここさ paradeno mori さ

夢じゃないさ LOVE&PEACE OH! YEAH!
腰を振れよ LOVE&PEACE OH! YEAH!

Hey you! こっちの話しはどうだっていいさ
Hey you! 幕が上がるよさあ調子はどうだい

闇からの風にマントを翻し
目指すのはここさ paradeno mori さ

夢じゃないさ LOVE&PEACE OH! YEAH!
腰を振れよ LOVE&PEACE OH! YEAH!

Hey you! 月の螺旋はどうだい綺麗だったかい
Hey you! 夢の続きをさあ一緒に踊ろう

闇からの風にマントを翻し
目指すのはここさ paradeno mori さ

夢じゃないさ LOVE&PEACE OH! YEAH!
腰を振れよ LOVE&PEACE OH! YEAH!
夢じゃないさ LOVE&PEACE OH! YEAH!
腰を振れよ LOVE&PEACE OH! YEAH!

 

 

Romaji

By: Yoshiyuki

Hey you! Socchi no kaze wa dou dai Kimochi ii kai
Hey you! Wain mo tabako mo te ni ireta darou

Hey you! Giragira taiyou wa moete ita kai
Hey you! Hamabe de bikini wo mitsukatta darou

Yami kara no kaze ni manto wo hirugaeshi
Mezasu no wa koko sa paradeno mori sa

Yume janai sa LOVE&PEACE OH! YEAH!
Koshi wo fure yo LOVE&PEACE OH! YEAH!

Hey you! Kocchi no hanashi wa dou datte ii sa
Hey you! Maku ga agaru yo saa choushi wa dou dai

Yami kara no kaze ni manto wo hirugaeshi
Mezasu no wa koko sa paradeno mori sa

Yume janai sa LOVE&PEACE OH! YEAH!
Koshi wo fure yo LOVE&PEACE OH! YEAH!

Hey you! Tsuki no rasen wa dou dai Kirei datta kai
Hey you! Yume no tsudzuki wo saa issho ni odorou

Yami kara no kaze ni manto wo hirugaeshi
Mezasu no wa koko sa paradeno mori sa

Yume janai sa LOVE&PEACE OH! YEAH!
Koshi wo fure yo LOVE&PEACE OH! YEAH!
Yume janai sa LOVE&PEACE OH! YEAH!
Koshi wo fure yo LOVE&PEACE OH! YEAH!

English

By: Yoshiyuki

Hey you! How’s the wind there? Does it feel good?
Hey you! You’ve probably gotten your hands on wine and smokes

Hey you! Was the dazzling sun burning?
Hey you! You’ve probably found the bikinis on the beach too

The wind from the darkness flutters your cloak
Here’s the end goal, paradeno mori

This isn’t a dream LOVE&PEACE OH! YEAH!
Shake your hips LOVE&PEACE OH! YEAH!

Hey you! It doesn’t matter what they’re saying here
Hey you! The curtains are rising so now, how are you doing?

The wind from the darkness flutters your cloak
Here’s the end goal, paradeno mori

This isn’t a dream LOVE&PEACE OH! YEAH!
Shake your hips LOVE&PEACE OH! YEAH!

Hey you! How do you find the spiral of the moon? Was it beautiful?
Hey you! Into the dream’s continuation so now, let’s dance together

The wind from the darkness flutters your cloak
Here’s the end goal, paradeno mori

This isn’t a dream LOVE&PEACE OH! YEAH!
Shake your hips LOVE&PEACE OH! YEAH!
This isn’t a dream LOVE&PEACE OH! YEAH!
Shake your hips LOVE&PEACE OH! YEAH!

 

Notes:

If you noticed all the familiar phrases in the lyrics, you could probably get a sense of who this “you” is.

The below is just a personal hunch but here are the possible references:

  • ワインも煙草も = Dokudanjo Beauty
  • ギラギラ太陽 = Que Sera Sera Elegy
  • 浜辺でビキニ = 人魚-mermaid-
  • マントを翻し = Moonlight Escape
  • LOVE&PEACE = PEACE / Muchi no Namida / Jonathan Jet Coaster
  • 腰を振れ = so many songs
  • 月の螺旋 = Jupiter
  • 夢の続き = Go-Go B-T Train

 

 

Album cover of スブロサ SUBROSA, BUCK-TICK

2024.12.04 | Victor Entertainment
スブロサ SUBROSA

Words by Hoshino Hidehiko

Music By Hoshino Hidehiko

 

English

From Now On

Just the beginning
Nothing to Worry about
Just the beginning
A long way to go

Oh! It’s all right
Don’t Worry
Don’t Worry

From Now On

Just the beginning
Nothing to Worry about
Just the beginning
A long way to go

Just the beginning
Nothing to Worry about
Just the beginning
A long way to go

BUCK-TICK Interview
 “Feels like we’re a new band”
From that day till now, and continuing into the future with their latest release and tour

Pia
03 December 2024

Text: Kawamura Amiri

 

BUCK-TICK announced a new chapter during BUCK-TICK Genshou -2023- (バクチク現象-2023-), their 29 December 2023 performance at the NIppon Budokan. Earlier that same year, their overwhelmingly charismatic frontman Sakurai Atsushi passed away on 19 October. On that date, they who have been active at the frontlines of the Japanese rock scene without any change in line-up ever since this group of schoolmates formed the band in 1985 and made their debut in 1987, promised to rise again from the abyss of this great sorrow. Everyone who was shrouded in darkness found light in them, watching over BUCK-TICK’s new choices as they paraded on the road of transformation.

With a four-man outfit made up of Imai Hisahshi (vocals/guitar), Hoshino Hidehiko (vocals/guitar), Higuchi Yutaka (bass), and Yagami Toll (drums), BUCK-TICK released their latest single, Raijin Fuujin – Resonance (Thunder God, Wind God – Resonance / 雷神 風神 – レゾナンス) on 20 November, and their latest album スブロサ SUBROSA on 4 December. In addition, they have a very aggressive schedule lined up; going on a fanclub-exclusive tour in December 2024, performing their annual show at Nippon Budokan called Naisho no Bara no Shita (Under the Secret Rose / ナイショの薔薇の下) on 29 December, and then embarking on a nation-wide live house tour, BUCK-TICK TOUR 2025 スブロサ SUBROSA which starts April 2025, among other activities.

What does this second era of BUCK-TICK foresee in their future?

【Part 1】
Here, the members of the band share their own thoughts and feelings about the new songs, and about the continuance of the band after having gone from five members to four. 

【Part 2】
Next, the members of the band talk about the important milestones of last year end’s Nippon Budokan show BUCK-TICK Genshou, doing this year’s version of that show and going on tour with the new formation, and their new album.

 

 

【Part 1】

 ――The new works are complete. The new BUCK-TICK has started. What kind of emotional journey did you experience last year when Sakurai-san passed on and you made the decision to continue the band as the four of you?

Imai (I): Acchan (Sakurai) passed away and two, three days later, I thought, “I have to have a band.” Then, I gave it some thought and concluded, “So let the four of us be it.” At that point, I haven’t yet spoken to the other members, but I figured that the only way [forward] was for us to do it. But there’s no point in forcing ourselves to do this if we can’t enjoy it, and I thought, the other members probably have their own thoughts about this, so we came together to discuss and conceptualise. It also felt like we’re starting a new band.

Hoshino (H): After Sakurai-san’s funeral, we all gathered and when we asked, “What’s going to happen with BUCK-TICK?”, the conclusion we came to was, “We continue.” We also talked about what form this will take, and after that, we proceeded to compose. Except, at the time, I still felt like I was in a daze. It only really hit me that it’s the four of us doing this after we started writing music and recording. I think my feelings evolved with each stage we passed.

Yuta (Y): I first thought it would be better that the band continued. Because we’ve received support of many people for more than 30 years. Our fans have grown up and aged together with us and having gone through so many different experiences together, we’ve had a lot of great times. As a person, I don’t think it’s right to just tell these people who have supported us all this time that it’s the end without even a performance. I don’t feel like I can call it quits on my own. If we can continue, we can give back to those who supported us, and the four of us are brothers in arms after all, so to me, I think this was the best decision of all.

Toll (T): When I received the news about Sakurai’s passing, I honestly thought that was the end. The other members of the band have been friends since high school and one of their juniors had been working for us throughout all this time as our roadie but the first thing I did was tell him something like, “This is the end.” But, just like what Hoshino said, when we got together to eat after the funeral, we concluded that we’ll continue. And since we decided to do so, Imai and Hoshino made preparations to start composing music. We had no idea what things would be like, but as a result of us four deciding to keep going, we made new music.

――Considering that Yagami-san already thought that things had come to an end, were you not uneasy about continuing?

T: Even now I’m nothing but uneasy. Now that we’re four, there’s only live performances left up ahead so you really have to wonder what kind of reaction our fans will have. Videos of Sakurai were put up at last year end’s Nippon Budokan show but there won’t be anything like that from now on. That’s why I’m wondering how we’re supposed to get people to come see this four of us. We’re still in pre-rehearsals for the shows. Whether or not the two of them will be able to make it as vocalists, well, this is going to be their first time, isn’t it? Performing as lead vocalists.

 ――Did the decision to have Imai-san and Hoshino-san take on the roles of vocalists come out of a discussion among the four of you?

I: Nope, there was no discussion. It’s more like there was no other option.

H: For me, I’ve been singing on the demo tapes all this time. So I felt that moving on to perform vocals was a natural progression.

――So now that the two of you are both vocalists-cum-guitarists, have you uncovered difficulties or discovered anything new in terms of singing the songs you’ve written yourselves?

H: I definitely tried to make sure that it’s easy for me to sing. We had Sakurai-san until now so I was composing according to his key. From this [album] on, that’s one area I had to think differently about when I composed.

I: Similarly, I started to think about how easy it would be to sing it. Later on, the both of us have to record vocals, so there are now more songs that focus on rhythm rather than melody.

――Thus far, we’ve heard songs from BUCK-TICK where Imai-san’s voice comes across as a sharp, edgy tone. But as a vocalist of the new BUCK-TICK, we’ll be seeing a new side from you unlike in the band Lucy, where you also performed as a vocalist and a guitar, right?

I: Yes. At least, I hope.

――When you decided to sing as frontman, what did you mentally prepare for?

I: Uh, to sing with energy (lol).

――I see (lol)! Did you consider the possibility of AI or bringing in a new member in the beginning, when you found yourselves without a vocalist?

I: Bringing in a new band member or a guest vocalist, it’s not very realistic, or rather, just not a very intriguing idea. I felt that it’d be easier to continue as a band if it was just us four. With regards to AI, we did a bit of testing but it was nothing like what we thought it would be. Not convenient in any way, so.

――Did Hoshino-san venture there again after being put in charge of singing?

H: I went for a bit of vocal training, things like that. For the purpose of getting comfortable with my singing voice since it’s a completely different thing than what we use for speaking like this.

――Yuta-san, Yagami-san. How did you feel after hearing their singing?

Y: Hide (Hoshino) said it earlier; he sings on the demo tapes, so we’re actually quite used to hearing him sing. Imai-kun always sang on the unconventional songs, but this time, there’s a variety of melodies so I think both of them actually made it work pretty well.

T: It’ll be Hoshino’s first time on lead vocals, but we all have always heard [his voice]. For Imai, he’s always been on the higher pitch but it’s a first for him to do a ballad like the one in our new album so I couldn’t quite wrap my head around what it would be like but…… immediately I thought, “Imai’s ballad is pretty good!” (Lol) I hope that our fans will come to get used to hearing Imai and Hoshino’s singing.

――Imai-san’s expressive vocals have their own surprising elements which gets listeners excited, and Hoshino-san’s voice sounds fresh and full of tenderness. By the way, Imai-san’s got a lot of moves and actions when you’re on stage, so do you think your performance will be affected by the fact that you need to sing too?

I: Definitely in terms of how we’re presented on stage. I have a guitar, a keyboard, a mic too. If I’m going to do the same things that I’ve always done so far I wouldn’t be able to move from that spot, though. I think I’ll be mulling that over as we go.

 ――Last year, at your Nippon Budokan show, Imai-san said, “Next year, BUCK-TICK will write new songs, and make an album.” Just like he said, your new work is complete and Raijin Fuujin – Resonance was chosen to be the album’s lead single. It leaves the impression of everything brightening up all at once and the contrast of both your voices in the duet is enjoyable too but is there a reason why this song was selected for the single?

I: Because it’s definitely got this feeling of things opening up and for this duet, I start first, followed by Hide, so I thought it felt neat. It’s also easy to understand [from the song] that this is the new BUCK-TICK.

――The B-side is a remix of the same song by DTM (desktop music/synth-pop) duo Pasocom Music Club but what I want to ask is, why them?

I: Because I thought it’d be interesting to ask the younger generation. At first, we had quite a few candidates in mind, but when we actually got around to listening, we liked their remix so we chose them. There’s a kind of freedom? Or something like that which influences them. Although they’re young, there’s a part of them that feels like there’s nothing they can’t do, and that’s a good thing.

――The music video has also been released. How did it feel filming with just the four of you?

Y:The four of us got into it without really having decided on anything so we were having discussions with the director during the shoot. We haven’t yet shot the music videos for the other songs so this is the only song we’ve done so far, but going forward, I believe we’re going to have to think about things like our positions, where we stand, and all that.

【Part 2】

――Your latest album, スブロサ SUBROSA, a product of this new formation, is a voluminous release with a total of 17 tracks. I could feel each member’s honest emotions from last year until now, and your feelings towards Sakurai-san and all your fans captured in the album’s music and lyrics. And although this is something the four of you created, I could really sense how it had always been five people in BUCK-TICK. Regarding the number of tracks, didn’t you actually want to have more?

I: In the end, this was all of it.

Y: Huh? Didn’t we initially say we’d have more?

I: Hahaha. Well, we were also coming up with [new] music here and there but. We also talked about wanting to do a 2-CD release, see. In the end, we gathered 17 songs.

――The fact that there are three instrumental tracks by Imai-san is also something that has never happened before, right?

I: I did want to make instrumental tracks too. Given that we have this number of songs, I felt that it would be easier listening in terms of flow if we included instrumental tracks, and since our frontman and vocalist Sakurai isn’t here anymore, it actually means that we can do instrumental tracks, I think. I’d think that they’re also intriguing in their own ways.

――I suppose it’s in part thinking outside the box. The 4th track, From Now On, which Hoshino-san composed lyrics for initially sounded like it would be an instrumental track until Hoshino-san’s voice came in.

H: Half of it was composed with the intention of making it an instrumental.

――Oh, I see! The very first track, Hyakuman Nayuta no Chiri SCUM started with the line “We are not alone (俺たちは独りじゃない / Ore tachi wa hitori janai)” which is followed by song structures and a wide variety of sounds that we haven’t really heard before,until the last thrilling track, Tasogare no Howling. I think this will be new for all those who have been listening to your music throughout all this time, and also, there would likely be more people who decide to try and listen to BUCK-TICK because this second era sounds interesting. If you were to pick one song to recommend to these people, which would it be?

I: The second track, スブロサ SUBROSA. It’s also the album title, and a song that doesn’t have any guitars at all.

H: I’d like to recommend all of the songs but…… maybe the 12th track which I wrote myself, Zetsubou to Iu Na no Kimi e.

――Is the song where Hoshino-san composed the melody, and Imai-san, the lyrics, right? That’s another combination that has never happened before.

H: That’s right. I picked this song because it’s melodious so it’ll probably be easy to listen to.

Y: Me, I’d pick the 3rd track, Muyuubyo SLEEP WALK. It’s a song that doesn’t feel like anything we’ve done as BUCK-TICK before, so I think it’ll probably bring a new feel to even those who have always listened to our music. This album, on the whole, has a lot of parts that will leave deep impressions on you.

T: Personally, I would choose the 8th track, Meiousei de Shi ne. This song has an afrobeat and it’s been a while since I had to do that so it was super tiring (dry laugh). But I’ve gotten quite used to it recently, so I got my groove back. It requires the use of timbales (a [percussion instrument typically used in Latin music) and it’s a song that shares a similar drum pattern with HURRY UP MODE so I had to put my back into it for the first time in a while.

 ――After the release of your new works, the live shows continue but it’s after all been a year since the turning point that was last year end’s Nippon Budokan show, so I believe that this year’s Nippon Budokan performance will be the one that will really showcase BUCK-TICK’s evolution. Looking back, how did you feel standing on stage last year? And what will you have in mind when you go on stage this year?

I: I think last year’s show was one that we absolutely had to do, so it’s good that we made it happen, right? Videos of Sakurai and his voice were being played as the four of us stood on stage, but it sank in that “This is how it’s going to be”. As to how it’ll look in this year’s shows with the “new four-man BUCK-TICK”, I want to enjoy the process of figuring that out while experimenting.

H: Last year, we also discussed whether or not we should hold the performance, but ultimately, we decided to do it. Then, we spoke about how we’re going to do this going forward but we went ahead with the show amidst all the anxiety that we, the band members, our staff and even the audience who attended it were feeling. Those were the circumstances we had to work with but because we did that show, I guess you could say that everyone’s feelings changed. It was a good thing that we did it. I think whether we went through this experience or not would really affect how we would all feel going forward. This year, we have a new formation, and while we’re definitely going to perform our new songs, I want things to turn out well so from here on out, it’s practice.

Y: I don’t remember anything, not even how I felt performing last year. But I definitely wanted to convey my feelings to the people who kept supporting us. If we were to, let’s say, write it out in text and publish it like a report, it feels a little too lacking, like, I think I should speak my feelings in person so it was good that we did the show. We’re here now because of that performance. Just like how it took decades for our five-man formation to get to where we were, if going forward we can experiment our way through doing things in a four-man group the way the did when the band was first formed, I think we’ll definitely be able to make something great, so I want to put my best into this.

T: It’s almost a year since our Nippon Budokan show last year and now that I think about it, that show was really as good as the last performance of “the first era of BUCK-TICK”. From here on, we’re starting out as “the second era of BUCK-TICK” and with us four, we’re starting off with “スブロサ SUBROSA”. That’s what I’m feeling. Well, it’s another band, isn’t it? So next, we’ll just have to win everyone’s approval. I guess you could say it feels like I’m a newbie again. Excited yet anxious, but I’m filled with motivation to drum as a part of the new BUCK-TICK from this year end on.

――And finally, I’d like to once again ask everyone: What is “BUCK-TICK” to you?

I: For me, ever since I was in school, I’ve always wanted to form a rock band and make it my career. I just wanted my life to revolve around being in a band, without having to do part-time jobs and whatnot. Since then, all kinds of things started happening, I got to meet people, and here we are now. So BUCK-TICK is something that I want to do from now until forever.

H: Tough question, but I suppose, it’s a part of my life? Something that naturally exists without question.

Y: It’s really been a long time since we started the band, hasn’t it? Not just the members, but even our staff, our fans, everyone is part of BUCK-TICK to me. Our staff have always given their all in the work they do for us, and there are also those who have been supporting us for a long time. So maybe that’s why I’ve come to feel that “everyone is BUCK-TICK”. And since I feel that we’re such a band, this is all very precious [to me].

T: Yuta said it, but even our PA has been working with us ever since we debuted. And there are also three other roadies who were juniors in Fujioka High School that have been with us ever since we performed at Shinjuku JAM during our indies era. Our staff have really stuck with us for a seriously long time. Among them are newbies who have steadily joined us, but we want to help them keep going for as long as we can and that’s the kind of band we are. That’s why we even have [staff] like our stage director or manager who had been with us from the very beginning since we debuted who already passed on. Which is why it really feels like that, “Team BUCK-TICK”. Every time we go on tour, there would be staff afterparties once in ten times. And during those events, what I always say to the staff who join us is, “I may be a part of BUCK-TICK, but see, you are also a part of BUCK-TICK.” The ones who get up on stage are the band members, but the ones who build the world of BUCK-TICK there and then are our staff and lighting of course. It’s a composite art on the whole. That’s why, I’ve been doing this with the thought of “Team BUCK-TICK”. I think BUCK-TICK will probably continue to exist until our members have truly come down to zero.

 ――At last year’s Nippon Budokan show, Imai-san said during his MC that [the band] will continue even if the number of band members drops to three, and two. Then, he also said, “I guess I’ll probably be the last one standing.”

T: Well, we definitely see such cases overseas. Like in my favourite band Sweet, the guitarist is the only original band member left. All the other parts have changed. But the band Sweet has always existed. There’s also this other band called Slade where only only two members are left. They bring in new band members for their activities. So don’t you think it’d be interesting if BUCK-TICK moves into that sort of a situation? BUCK-TICK is probably going to be a band that doesn’t break up. Although I can’t say for sure that there won’t be an end. Even if Imai is the only one left, he could just bring in a drummer or something and keep the trade name or something.

Y: That just goes to show that Imai-kun will be the sole survivor! (Lol) 

I: (Dry laugh)

――I’ll continue to observe and watch BUCK-TICK evolve and find success. Lastly, please share a few words people who will be listening to your new album, スブロサ SUBROSA.

I: Look forward to it. It’s unlike anything we’ve done before, so it’ll probably be interesting.

H: We built this up from a “state of nothingness” so even we had no idea what would come of it until it was complete. There are probably fans out there with all sorts of opinions and feelings but this is an album “brought to you by the four of us”. We enjoyed the process of putting it together, so I hope that you will enjoy listening to it too.

Y: This is a really wonderful album that was born out of experimentation so I hope that everyone will give it a listen. It’s always been like this even when we were five, but I think that producing an album and going on tour like this is how we’ve always been searching for what we’ll be moving on to next. So, this time too, we made an album, we’ll be going on tour, and meeting all kinds of people who will come and see us. I have hope that we can take another step forward and keep going.

T: I really hope that you’ll giev the album a listen. Also, we’re doing something new as a group of four, and I’m feeling like a newbie at age 62, so I promise to do my best! (Lol)

 

<Release information>

New Single
Thunder God, Wind God – Resonance [雷神 風神 – レゾナンス / Raijin Fuujin – Resonance]

Now on sale

BUCK-TICK Thunder God, Wind God – Resonance [雷神 風神 – レゾナンス / Raijin Fuujin – Resonance] cover

 【Tracklist】

1. Thunder God, Wind God – Resonance
[雷神 風神 – レゾナンス / Raijin Fuujin – Resonance]

2. Thunder God, Wind God – Resonance (Pasocom Music Club Remix)
[雷神 風神 – レゾナンス (パソコン音楽クラブ Remix) / Raijin Fuujin – Resonance (Pasokon Ongaku Kurabu Remix)]

 

BUCK-TICK「雷神 風神 -レゾナンス」MV

 

 

New Album
『スブロサ SUBROSA』

Releasing Wednesday, 4 December 2024
※Vinyl LP will be released on Wednesday, 29 January 2025

BUCK-TICK『スブロサ SUBROSA』CD / Vinyl LP Cover
BUCK-TICK『スブロサ SUBROSA』Cassette Tape Cover
  • Limited Edition A (SHM-CD + Blu-ray): 6,050 yen (w/tax)
  • Limited Edition B (SHM-CD + DVD): 5,500 yen (w/tax)
  • Regular Edition (SHM-CD): 3,300 yen (w/tax)
  • Limited Edition Cassette Tape (Double cassette tape): 4,400 yen (w/tax)
  • Limited Edition Vinyl (3LP): 12,100 yen (w/tax)

 

【VICTOR ONLINE STORE Exclusive Limited Made-to-Order Set】

  • Limited Edition A + Original T-shirt: 9,900 yen (w/tax)
  • Limited Edition B + Original T-shirt: 9,350 yen (w/tax)
  • Regular Edition + Original T-shirt: 7,150 yen (w/tax)

※Limited made-to-order quantity sold at the VICTOR ONLINE STORE.
※The original t-shirt comes with the CDs (limited edition A/B and regular edition).

 

※An exclusive special show will be held in Tokyo on 23 March 2025. Attendees will be drawn from those who purchased both the single (Raijin Fuujin – Resonance) and the album (スブロサ SUBROSA).

『Exclusive Special Show』
Sunday, 23 March 2025
Somewhere in Tokyo

Doors open/Performance starts: TBA

【Included songs】

  1. 百万那由多ノ塵SCUM (Hyakuman Nayuta no Chiri SCUM / A Million Innumerable Dust SCUM)
  2. スブロサ SUBROSA
  3. 夢遊猫 SLEEP WALK (Muyuubyou SLEEP WALK / Sleepwalker Cat SLEEP WALK)
  4. From Now On
  5. Rezisto
  6. 神経質な階段 (Shikeishitsu na Kaidan / Neurotistic Stairway)
  7. 雷神 風神 – レゾナンス #rising (Raijin Fuujin – Resonance / Thunder God, Wind God – Resonance)
  8. 冥王星で死ね (Meiousei de Shi ne / Die on Pluto)
  9. 遊星通信 (Yuusei Tsuushin / Planetary Communications)
  10. paradeno mori
  11. ストレリチア (Sutorerichia / Strelitzia)
  12. 絶望という名の君へ (Zetsubou to Iu Na no Kimi e / To You Who’s Named Despair)
  13. TIKI TIKI BOOM
  14. プシュケー – PSYCHE –
  15. ガブリエルのラッパ (Gaburieru no Rappa / Gabriel’s Horn)
  16. 海月 (Kurage / Jellyfish)
  17. 黄昏のハウリング (Tasogare no Hauringu / Twilight’s Howling)

 

Dedicated website:
https://www.jvcmusic.co.jp/linguasounda/subrosa/

 

<Live Information>

Fanclub member-exclusive live
『FISH TANKer’s ONLY 2024』

December 6 (Fri) Aichi・Diamond Hall
December 7 (Sat) Osaka・BIGCAT
December 14 (Sat) Gunma・Takasaki City Theatre, Studio Theatre
December 15 (Sun) Toyko・Toyosu PIT

※Tickets are sold out for all dates

Dedicated website:
https://buck-tick.com/feature/specialsite_fto2024

 

<Tour Information>

『BUCK-TICK TOUR 2025 スブロサ SUBROSA』

April 12 (Sat) Miyagi・Sendai GIGS
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)/2F Seated: 11,000 yen (w/tax)
※Drinks not included

April 13 (Sun) Niigata・Niigata LOTS
Doors open at 17:00 / Performance starts at 18:00
Standing only: 9,900 yen (w/tax)
※Drinks not included

April 19 (Sat) Osaka・Zepp Osaka Bayside
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)/2F Seated: 11,000 yen (w/tax)
※Drinks not included

April 20 (Sun) Aichi・Zepp Nagoya
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)/2F Seated: 11,000 yen (w/tax)
※Drinks not included

April 26 (Sat) Hiroshima・Hiroshima CLUB QUATTRO
Doors open at 17:00 / Performance starts at 18:00
Standing only: 9,900 yen (w/tax)
※Drinks not included

April 27 (Sun) Fukuoka・Zepp Fukuoka
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)/2F Seated: 11,000 yen (w/tax)
※Drinks not included

April 29 (Tue・Holiday) Kagawa・Takamatsu festhalle
Doors open at 17:00 / Performance starts at 18:00
Standing only: 9,900 yen (w/tax)
※Drinks not included

May 11 (Sun) Hokkaido・Zepp Sapporo
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)/2F Seated: 11,000 yen (w/tax)
※Drinks not included

May 16 (Fri) Tokyo・Zepp Haneda(TOKYO)
Doors open at 18:00 / Performance starts at 19:00
1F standing・2F rear standing: 9,900 yen (w/tax)/2F Seated: 11,000 yen (w/tax)
※Drinks not included

May 17 (Sat) Tokyo・Zepp Haneda(TOKYO)
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)/2F Seated: 11,000 yen (w/tax)
※Drinks not included

May 24 (Sat) Tokyo・Toyosu PIT
Doors open at 17:00 / Performance starts at 18:00
Standing only: 9,900 yen (w/tax)
※Drinks not included

May 25 (Sun) Tokyo・Toyosu PIT
Doors open at 17:00 / Performance starts at 18:00
Standing only: 9,900 yen (w/tax)
※Drinks not included

 

Dedicated website:
https://buck-tick.com/feature/specialsite_subrosa

Official website:
https://buck-tick.com/

 

 

 

 

Translation: Yoshiyuki
Source:
【Part 1】https://lp.p.pia.jp/article/news/407331/index.html
【Part 2】https://lp.p.pia.jp/article/news/407332/index.html

 

 

Interview with Hoshino Hidehiko

Ongaku to Hito
July 2024

text by Kanemitsu Hirofumi
photograph by Sasahara Kiyoaki_L Management

 

Now, is the time for change

Hoshino Hidehiko will celebrate his 58th birthday on 16 June. This once-a-year series has continued these past 23 years since 2001 with the simple reason that “[his] birthday is in June”, but more often than not, the publishing period doesn’t coincide with a release, so it frequently results in him talking about his ordinary, carefree, leisurely daily life. But that’s not all for this year. BUCK-TICK now consists of four members and they’re recording something new while exploring a new style. Furthermore, where Hoshino stands in the band has changed and as he approaches his 60th birthday, he’s looking to change things up.

What he talks about hasn’t changed much; it’s his usual way of daily life but when it comes to the band, there’s a change in his attitude and his resolve comes across. Recording is going well, so the day when we get to hear what the overhauled BUCK-TICK sounds like probably isn’t too far off. From each word he spoke, I sensed anticipation more than anxiousness.

 

 

 

I quite often attend my friends’ concerts
The other day, I went to see my first SUPER BEAVER show

――Once again, it’s June.

Hoshino (H): Sure is. It still continues even after publishing two books, doesn’t it? This series (lol).

――It’ll keep going until the end of Ongaku to Hito (lol). Now, how has this year’s Hoshino-san been?

H: Recording work has begun but right before that, I went to Tomamu (Hoshino Resorts TOMAMU Ski Area) in spring to ski and all. Since it’s been a while since I could spend time with the family.

――I’m glad to hear you enjoying yourself.

H: It was my first time at Tomamu but it was great. I’d like to go again.

――When we did our interviews remotely, I noticed that the number of snowboards behind your home studio increased (lol).

H: Hahahaha. Because my studio is gradually turning into a storeroom. There are three boards in there now (lol).

――Sure is tough being a dad (lol).

H: There aren’t any big changes at home…… Ah, my eldest son who was studying abroad has changed his plans and come back. He’s resumed university too. Things have gotten lively again at home. He said it’s hard living in the UK (lol).

――I see (lol). Hoshino-san has also started going out recently, haven’t you?

H: That’s right. I quite often attend my friends’ concerts. The other day, I went to see my first SUPER BEAVER show.

――Oh, that’s a surprise!

H: I got to know bassist Kenta (Uesugi Kenta) through T$UYO$HI-kun from The BONEZ. And we grew closer meeting at dinner parties and other events.So, he invited me to a show. Other than that, I also went to see The BONEZ, Kishidan, GLAY too. And Maneskin as well. Every now and then I’m going.

――What music are you listening to these days?

H: I mainly listen to playlists on subscription services¹.

――Ah, so you listen to your own playlists you put together with the songs you like?

H: No, no, no, doing that is troublesome so I only listen to things like these (he then shows me his phone screen).

――“Introduction to² Oasis”, “Introduction to² Ed Sheeran”, “Introduction to² Garbage” (lol).

H: I listen to these on and off.

――But do you really have to listen to “Introduction to² BOØWY” in this day and age? (lol)

H: Ahaha. Nostalgic, though, isn’t it? Also, when I wake up on Sundays, it’ll be “Sunday Morning”. If it rains, it’ll be “Rainy Day”. There’s quite a variety.

――And if you like [a song], you’ll save it?

H: Nah, just in the moment (lol). I’d think, “Aah, what a nice song,” but once the next song comes on, I’d go “oh well” and leave it to stream away.

――I was aware, but this is a really un-musician-like story (lol).

H: You already know, don’t you (lol).

――How old are you turning this June again?

H: I’ll turn 58.

――Getting closer to your 60th.

H: Yeah, well, that’s true. Anii (Yagami Toll / drummer) is already past 60 but, next year, there will be one more person who will reach that stage of life too.

――Is there someone you admire in terms of how they live their later years?

H: Like, how they age and grow older?

――That’s right. In recent times…… Maybe Tachi Hiroshi? 

H: Tachi Hiroshi is certainly cool (lol).

――Aged 74. At the red carpet event for the Abudeka is Back (帰ってきた あぶない刑事 / Kaettekita  Abunai Deka) movie, he picked up Asano Atsuko in his arms and carried her bridal-style, didn’t he?

H: That’s amazing (lol). Something like that is impossible [for me]. I’m worried for my back (lol). But I look up to old men who live with an easygoing mannerism more instead of that level of a petit-maître. Like Tokoro-san (Tokoro George), and, who was it…… That easygoing and kinda risque [guy].

――Uhhh…… Girolamo?

H: Not him (lol). Ah, Takada Junji-san. Doesn’t he look like he’s having fun living life? That’s what I want to become.

――I doubt it’s possible to be as carefree as him though, right? (Lol). Anyway, you mentioned that you’re currently in the midst of recording, but how’s that going?

H:There’s one song; it’s not completed yet but there are songs that are more or less done. There are a number of tracks that already have the bass recorded, so we’re just making progress by working on each of them, one by one.

When I’m composing music, I can’t just think about composing a nice melody
I have to start by considering that if I’m going to sing, I’d try not to have to play the guitar so much in concert.

――You’re working on finishing the songs one by one because Yuta-san (Higuchi Yutaka / bassist) requested so, right?

H: That’s right. But in terms of the big picture…… I don’t feel like we’re at a stage when we can see it yet.

――The album’s?

H: Whether it’s the album’s or the direction of the new BUCK-TICK, I suppose. The songs are pretty much done to some extent, but as to how we’re going to give them shape with what kind of balance and so on, I guess there are some areas we’re still figuring out.

――What are you figuring out?

H: As of now, I can’t really go into detail yet (lol). Mm…… Sound-wise it won’t be the same as what we’ve done all this time, so I guess, we’re figuring out how to bring it all together.

――Everyone’s looking forward to it with bated breath.

H: Even I am looking forward to it, you know?

――What are Hoshino-san’s thoughts after listening to that one almost-complete track?

H: In summary, it [feels] new, has a BUCK-TICK-ness to it, and carries the conviction that the band will continue on. Things like that. Of course, I know that we’re going to become a BUCK-TICK unlike before, but probably, I suppose everyone expects as much. I guess it feels more like a diagonal shift.

――Is it tough creating something unlike anything you’ve done before despite carrying the same band name?

H: Nah, I thought it was surprisingly workable. New ideas kept popping up too…… Well, we absolutely had to have them but it was surprisingly less of a struggle than I expected.

――And of course, Hoshino-san is also putting out music, right?

H: A number of them already. But Imai-san (Imai Hisashi / guitarist) did far more than me. He’s really churning them out.

――Is Hoshino-san doing vocal recording?

H: That, I am (sharp gaze).

――Ohh! So that means it’s Imai and Hoshino, you two who are recording vocals.

H: Mm. Sometimes we do it together too, all that.

――Not Yuta-san, though?

H: He absolutely refused (lol).

――Hahahahahaha. In the past, Anii said that he would do it if asked (lol).

H: While drumming? We’ll give it a think (lol).

――With the way things are this time, did you feel like you had to change the mindset you’ve had thus far?

H: Right. Well…… When we made the decision to continue as four, the switch had already happened. Probably all four of us at that point had already taken the first step forward. We had no choice but to make it work, so we switched gears. Half a year has passed since then, so we can just take our time to get used to this state of affairs from here on out. That’s what I thought. Since we already decided to continue, we definitely won’t forget [the past], but we have to move forward. That’s how our mindset changed.

――But wouldn’t you have never expected that such a big change would happen to you just before your 60th?

H: Well, yeah.

――Imai-san was happy playing guitar on the side of the stage, and Hoshino-san was happy to take a step back and just compose songs in your distinctive style. The roles that you play in BUCK-TICK have undergone a huge change.

H: Well, we started by first dividing up responsibilities. Even though I’m still composing music, I can’t just think about composing a nice melody the same way I have so far. I have to start by considering that if I’m going to sing, I would want to make it such that I don’t have to play the guitar so much in concert.

――Yes, I see.

H: But this is also life, right? (Lol) The fact that such things can happen too. It’s a test we never saw coming but we don’t know what will happen or how things will turn out, so I think the only thing I can do is to enjoy the change.

――Thus far, Hoshino-san’s songs for BUCK-TICK had their special characteristics, right? Is that going to change a little too?

H: Most likely. Of course, there are parts that I would like to keep, but there are also parts that are rather different.

――Because of that sudden change in mindset.

H: That’s right.

――How’s the rest of the band?

H: Initially, Yuta seemed to take it really hard but now, I think he’s slowly getting back to normal. Everyone’s got a little more things they need to do now though. Like, I’m even going for vocal training.

――OH!

H: Might as well, since I’ll be singing, right? At the same time, I feel like I don’t have to worry too much about it, but I don’t normally raise my voice, you know? And I haven’t been to any karaoke sessions recently either (lol).

――I’m looking forward to it. All that’s left is for Hoshino-san to live everyday relaxed, in all positive meanings of it.

H: Yeah, well, that much is fine. When recording, there are a lot of first-times so that makes me nervous but we’re spending a longer than usual time on it, and things are scheduled with quite a number of intervals so there’s time to think anyway. During those periods, I can take it easy.

――That’s nice.

H: Well, but as long as I’m at home, I’m a pick-up and drop-off service among other miscellaneous jobs, you know (lol).

――Being a dad is busywork (lol). When you turn sixty in two years, let’s release a commemorative book.

H: Like a compilation (lol).

――We’ll go to an island further south than the previous [photo shooting] locations of Taiwan and Okinawa.

H: In that case, for variety’s sake, [let’s go to] Italy or something (lol).

 

 

 

 

Notes:

¹ E.g. Apple Music, Spotify, YouTube Music etc.

² I thought of using the typical naming convention that is available in Spotify (This is –), but I’m not sure what it looks like in Japanese. The names of the playlists here following the naming convention that implies “Introduction to –” (はじめての — / hajimete no —) so that’s what I decided to use instead. I have no idea what platform he’s using, though. So I can’t be 100% sure that “Introduction to –” is the official naming convention in English, assuming the platform has an English interface, of course. He could very well be using a platform that’s exclusive to Japan.

 

 

 

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AFTERSHOW

2024.05.16 Hoshino Hidehiko BUCK-TICK

The photoshoot location for this year’s Poem of June was Odaiba’s sandy beach. The weather looked good and we planned to do the shoot in the lingering sunset at dusk, but when we looked at the weather forecast one day prior, it predicted stormy weather, and that a heavy storm warning might be issued starting that evening. Furthermore, there was news that typhoon-like winds might blow, so we started the photoshoot three hours before the originally planned time. The wind felt gentle and Hoshino-san laughed as he said, “Will the wind really pick up later on?” But it appears that in the evening, Odaiba really came under the beating of very strong wounds. It’s a real blessing we started early……

 

 

 

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Translation: Yoshiyuki
Scans: Yoshiyuki

ROCK AND READ 108
August 2023

 

 

BUCK-TICK
TOUR 2023 異空 -IZORA-

Text◎Koji Yoshida
Photography◎Seitaro Tanaka

 

The tour for their 23rd album, 異空 -IZORA-. There’s still a postponed show in Aichi and the grand finale in Gunma, but it could be said that the 2-day show in Tokyo marks the end of a chapter. This piece is a report on the first Tokyo show.


The venue was a large, eight thousand-seat capacity hall, but the stage setup was very simple. There were no large screens to show the band on, neither were there decorative elements. In this setting, the opening instrumental QUANTUM Ⅰ started playing and a psychedelic video played on the LED screen in the back of the stage. As the words “異空 (izora)” appear, the members of the band come on stage and Hoshino Hidehiko plays an arpeggio, Sakurai starts to softly sing, “Nigerarenai, Nigerarenai, Ore wa mou doko e mo (逃げられない 逃げられない 俺はもう何処へも)”. Keeping in line with the flow of the album, the first song was SCARECROW. Hoshino and Imai Hisashi’s guitar ensemble seem to toe the line between harmony and dissonance alongside the precise drumming of Yagami Toll and Higuchi Yutaka’s calm and collected bass. And there’s Sakurai, singing melancholically with his face hidden under a hat. Shown on the screen was a scarecrow, or perhaps, a crucifix. Whether they wanted to or not, from the very beginning the audience was sucked into the relentless story that BUCK-TICK had woven in 異空 -IZORA-.

Warukyuure no Kikou starts with pipe organ music. Grossly distorted guitar sounds playing to a steady drumbeat and bass groove reminiscent of a marching procession made for an unsettling atmosphere. Removing his hat, Sakurai sang passionately, as if possessed. In short, this second song continued to give me chills like the first.

It wasn’t a bombardment of songs which came afterwards; there was a short pause after each song as the show progressed. Whether it was to let the audience’s cheers rain down on them with the ban lifted, to take some time to shift focus for the next song, or simply for a change of guitars, this was different from the typical rock concerts which attack vigorously. At the same time, it all felt very solemn.

Imai and Sakurai’s duet, IGNITER featured kanji sync-ed with the lyrics swirling on the screen. Sakurai shone a light in the audience area while singing Uta. And then, the first MC.

“Hello darling? Hello baby? Do have fun~.”

Sakurai whispered with a voice which transcends gender and age. Before I knew it, there he was wearing knee-high stockings and garter belts……

A torch lit up in the back of the stage and I thought he was about to give an erotic performance of Ai no Harem but instead, he performed a glimmer of hope in a disastrous situation to violin music under a screen of a star-filled sky with Sayonara Shelter destroy and regenerate-Mix, followed by Campanella  Hanataba wo Kimi ni which felt like the breaking of dawn. Although dressed in a basic jet black, Sakurai’s ability to express himself in red, white, light blue and yellow was simply overwhelming.

Sandwiched between Imai’s surf music playing before and after was THE SEASIDE STORY, followed by the BUCK-TICK-flavoured city pop song Mugen LOOP -LEAP-. After that, Sakurai said, “Thank you for all your cheers. Everyone can now make a little more noise again, there’s even some part of me that isn’t sure what I should do…… But, anyway, let’s have fun. With that, the band moved into Boogie Woogie. Then, towards the end of the Showa-era jazz flavoured Noraneko Blue, Sakurai crouched and hissed like a cat.

I’ve said this before, but Sakurai really looked as if he was possessed by something. Transcending attributes like gender and age, and even human or cat, it was amazing how he changed completely with each song he delves into. Even during Taiyou to Icarus which came after THE FALLING DOWN, Jonathan Jet-Coaster, Sakurai looked like he really became a bird, or perhaps an angel soaring through the skies as his figure merged with images of the cosmos on the screen.

Just as he said, “Thank you for today,” in a friendly voice, Sakurai started to whisper in repeat, “I want to die… I want to live…”. Hoshino’s gentle acoustic guitar, Imai’s spacey noise, Yagami’s cool beats, and Higuchi’s solid groove; the heavenly universe named BUCK-TICK grows, ever-expanding. When the screen turns a blank white at the end, Sakurai turns and walks in its direction, disappearing into the halation. After that, only feedback noise remains as the other members of the band also leave the stage in the backlight of the screen. It was as if they were each going back into the BUCK-TICK universe.

The stage reopens with a drum solo by Yagami. The other members then came on stage and after Imai and Higuchi’s usual habit of taking photos and videos of the audience from the stage, the second part of this concert, the encore began with the beautiful ballad Sekai wa Yami de Michiteiru.

After CLIMAX TOGETHER, ONCE UPON A TIME, and Kogoeru, Sakurai said, “My name is Hizumi. Correct, I’m sad. I wear my favourite dresses, put on pretty makeup; I’m just living my life. But everyone laughs at this. Even though I’m just living…… Father, Mother, I love you…… Thank you…… Goodbye……”. Then starts the amazing Hizumi. It’s BUCK-TICK’s style of a lullaby. Coupled with Imai playing his guitar while dancing the hopscotch-like jenkka, the twisted worldview which seemed to be tickled by childish wonder left me with breathless surprise.

“Thank you very much for [coming] tonight. We appreciate it. Thank you.” With that, they proceeded into the final song, Na mo Naki Watashi. A single stalk of a white flower appeared on screen. Whether it gets blown by the wind, gets rained on, or has countless flower petals flying around it, the flower doesn’t fall. In Sakurai’s interview which was published in issue 106, he spoke about this song, saying, “It is enough to bloom and exist as you are.” Each and everyone of us live differently under different skies. There will likely be tough or agonising days. But it’s okay, because the fact that you are here is more than enough――That’s the kind of message the song seemed to send. Then, the ending instrumental QUANTUM Ⅱ played and the curtains closed on the concert.

Despite the contrast between the main show and the encore, it was a complete story. What kind of sky did you see here? There were likely those who got a painful reminder of reality too. Yet it’s likely not an exaggeration to say that there were likely others who felt some sense of hope for life. But it goes without saying that all these different thoughts and emotions are all precious in their own way.

 

TOUR 2023 異空-IZORA
2023.7.22-23 Tokyo Garden Theatre

1. QUANTUM I
2. SCARECROW
3. Warukyuure no Kikou (Ride of the Valkyries)
4. IGNITER
5. Uta
6. Ai no Harem (Harem of Love)
7. Sayonara Shelter destroy and regenerate-Mix
8. Campanella  Hanataba wo Kimi ni (A Bouquet For You)
9. THE SEASIDE STORY
10. Mugen LOOP -LEAP-
11. Boogie Woogie
12. Noraneko Blue (Stray Cat Blue)
13. THE FALLING DOWN
14. Jonathan Jet-Coaster
15. Taiyou to Icarus (The Sun and Icarus)
16. Die

―encore―
1. Sekai wa Yami de Michiteiru
2. CLIMAX TOGETHER
3. ONCE UPON A TIME (22nd)/MISTY ZONE (23rd)
4. Kogoeru
5. Hizumi
6. Na mo Naki Watashi
SE QUANTUM II

 

profile & information
Formed in 1985. Members of the band are vocalist Sakurai Atsushi, guitarist Imai Hisashi, guitarist Hoshino Hidehiko, bassist Higuchi Yutaka, and drummer Yagami Toll. “BUCK-TICK TOUR 2023 異空-IZORA- FINALO” will be held on Sunday, the 17th and Monday, the 18th of September at Gunma Music Center. Following, the livehouse tour “BUCK-TICK TOUR 2023 異空-IZORA- ALTERNATIVE SUN” will start on Friday, the 20th of October.
buck-tick.com

※An interview with Higuchi Yutaka which was conducted prior to this concert comes next.

 

 

 

 

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Higuchi Yutaka
BUCK-TICK

Text◎Okubo Yuka
Photography◎MASA (Alegre), Yamauchi Hiroe (PROGRESS-M)

 

profile & information
Born 24 January 1967. Blood type A. Bassist of BUCK-TICK which was formed in 1985. Other members of the band are vocalist Sakurai Atsushi, guitarist Imai Hisashi, guitarist Hoshino Hidehiko, and drummer Yagami Toll.
buck-tick.com

 

To all our fans

BUCK-TICK will wrap up the tour for their 23rd album, 異空 -IZORA- in July with the shows at Tokyo Garden Theatre before concluding the 35th anniversary year of their major debut with two shows on 17 and 18 September in their hometown of Gunma.

In this issue, we spoke to bassist Higuchi Yutaka about his journey with BUCK-TICK. From details about their first show at Shinjuku JAM to the real reason behind holding their comeback concert at Tokyo Dome, some things are being talked about for the first time in this interview but he would also constantly mention their gratitude to the fans who would wait for them no matter when.

And now, BUCK-TICK steadily heads towards their 36th year together.


I want for us to keep going for as long as we can. Because there are people who will wait for us.
That’s why I really want to cherish this, all of this.

——Following the release of the album, 異空 -IZORA-¹ we’re now in the midst of your national tour “BUCK-TICK TOUR 2023 異空-IZORA”². At the juncture of this interview (mid-July), you’re left with five more shows to go. How do you feel about this?

Yutaka (Y): I think we pulled it off really well, it also feels like it’s all gone by really fast.

——With this tour spanning 20 shows, it’s not exactly a short tour, though.

Y: Maybe it’s because we had a lot of weekend shows, but I find myself thinking, “It’s already ending?” I gradually got comfortable as we went along, so maybe that’s all the more why I feel like this.

——The 異空 -IZORA- album encapsulates the currents and atmosphere of this era. Is there anything you feel even more strongly about now that you’ve brought this perspective all around the country?

Y: It’s definitely impossible to pretend I don’t know, right? The current state of society. But something I’ve felt from the very beginning is that it might be better not to hold on too tightly to that. There are some songs that touch on it, but we don’t have to keep bringing it up across the whole show. And I think we managed to do this.

——I assume that’s coming from the consideration about how your audience would feel. There’s a storyline in the setlist for this tour, so I thought it was meant to make it easier to bring a message across.

Y: That’s right. We kept deliberating about whether we should make the main part of the show the story or include the encore as well and turn the whole concert into one big story though. We didn’t really split it into two parts, but we decided not to do a double encore and instead perform 異空 -IZORA- properly with just the main show and one encore.

——I see. I think it became even richer when you mixed in past songs.

Y: Also, the audience is now allowed to cheer starting this tour, so I think the way people enjoy the concert has also changed bit by bit.

——Cheering definitely adds to the atmosphere.

Y: And we can still hear everyone even wearing the ear monitors. I felt all, “Ah~, this is what it felt like.”

——Your 35th debut anniversary year also comes to an end in September. Looking back on this past year, how do you feel?

Y: First of all is that we have a lot to be grateful for. Because there was a lot we couldn’t do during the COVID-19 pandemic. Even last September’s show at Yokohama Arena³ feels like it happened three years ago. These are things to be happy about, definitely. Like being able to see our fans, like the way the whole country waited for us. All that.

——For this 35th anniversary year, ROCK AND READ first had Yagami-san⁴ tell us about the band’s 35-year history. Then, Hoshino-san⁴ looked back on these 35 years with a focus on the music he wrote. This time, with Higuchi-san, I’d like to focus on the stage from your perspective and how the view from your position has changed. Do you remember the first time you got on stage?

Y: The first time was as a member of BUCK-TICK’s predecessor band (Hinan GO-GO), when we performed at a music store in Gunma. At the time, we were covering songs by THE STALIN, but I didn’t feel nervous or anything like that. Before I knew it, we were done (lol). That was during the band boom back then and Mentai rock and bands like THE MODS were popular so it felt as if everyone was covering those. At that gig, cover bands who covered THE MODS or HOUND DOG and all those were there too. So, right after the HOUND DOG cover band sang Namida no Birthday, you’d have us performing THE STALIN’s Tenpura. It really was quite the event (lol). The audience were somehow mistaken for punks too because it looked like they were entirely made up of Keganin (怪我人, lit. injured person).

——That event sounds like a blast. What are Keganin?

Y: They’re guys wrapped up in bandages and stuff. A misinterpretation of punk. Just Keganin (lol). This wasn’t a school event but there were a lot of kids from other schools who came too.

——So after the band becomes BUCK-TICK, which venue comes to mind?

Y: In our early days, I’d say it’s definitely Shinjuku JAM. It’s the very first venue we performed at in Tokyo, and when Acchan (Sakurai Atsushi) became our vocalist with Anii (Yagami Toll) playing drums, our first show⁵ was at JAM too. At first, there were chairs lined up on the audience floor. The stage at JAM was low so if the audience stands, their view barely changes. We also often performed at Shibuya’s YANEURA and Shinjuku ABC Hall. In the beginning, all we had was a tiny stage so when we performed, it was like we were all squished together in a packed train carriage. So close together that the necks of our guitars would clash (lol). We step on pedals to tune without making any sound, but it was so cramped that there were times when (the front row audience would) keep stepping on them too.

——How did you increase the audience turnout?

Y: When Acchan became our vocalist, we’ve been in Tokyo for a while now and we made friends with all kinds of people. As we got invited to perform in joint gig shows, our audience numbers also steadily grew, something like that. …… I think we probably never held one-man shows. We certainly didn’t at YANEURA, and I’m of the feeling that we didn’t at JAM either. The one-man show we did at LOFT only happened after we debuted anyway.

——Does that mean you received an offer from a major label before you even did a one-man show?

Y: I guess we got into the habit of doing events or joint-gigs. When we released HURRY UP MODE⁶ under an indie label, we did a show at Toshima Civic Center⁷ but there were a few other bands who performed then too. It’s just that we were the main act. Then just before we debuted, we did that one-man show at Shibuya LIVE INN⁸.

We started with fifteen people or so (in the audience), then a hundred months later, and then two hundred the next time.
Seeing our audience grow every time we go, that was when I thought, “Maybe this’ll work out?”

——While seeing your audience grow, around when did Higuchi-san start feeling convinced that this band could make it?

Y: That’s got to be some time right after we made our debut. Especially because we started travelling to other regions. Because people wouldn’t come at all in the very beginning, you know? We’d do joint-gigs with those who are locally popular and steadily build our audience. After debuting, I had the impression that the regional areas were more peculiar than Tokyo.

——Peculiar in what way?

Y: For example, so, we often toured the Tohoku area. Back then, Tohoku had the most rock music lovers in Japan so it was pretty exciting. There were huge festivals, and we even participated in a live tour called Tohoku Rock Circuit⁹. There weren’t many regional TV stations so I remember very well that we made a guest appearance on one of Iwate’s TV programs which was broadcast on Fridays at 7 p.m.. Even though we just made our debut, we were making a guest appearance at prime time (lol).

——I want to see that (lol).

Y: I think we got quite the viewership numbers (lol). Going on tour right after we debuted, Tohoko was the one region where we held one-man shows right from the get go. We started with only fifteen people or so in the audience but when we went back months later, that grew to about a hundred, and the next time we went again, it became two hundred. Seeing our audience grow everytime we go, that was when I thought, “Maybe this’ll work out?” Because there were probably more in the audience than in other areas like Osaka or Nagoya too.

——So, the flame of BUCK-TICK was first lit in Tohoku.

Y: It’s actually the same even now. What makes me happiest is seeing people come together to see us when we go somewhere we don’t know about or we’ve never been to. It energises us, in a way. This is about the first time we went to Sendai for a show at Yamaha Hall¹⁰ at the start of the tour, but when the instrumental track started playing we couldn’t make a single sound right from the start (lol).

——That’s something you’ll certainly remember clearly (lol).

Y: Yeah, it’s like, “Problems right from the beginning!” (Lol) These things happened quite a lot too.

We didn’t want to make it such that people who wanted to get in couldn’t.
That’s why I remember we said that we wanted to perform where everyone could enter.

——In the midst of it all, just a year after debut, you stood in the Nippon Budokan for the first time¹² for the final show of your SEVENTH HEAVEN¹¹ tour.

Y: We actually weren’t all that emotional about it. Maybe it’s because we didn’t really have much of an impression of the Nippon Budokan as a venue. The reason for that is because the bands we like didn’t play at the Nippon Budokan anyway. Maybe the only one who did was BOØWY.

——So it wasn’t exactly a venue you’d aim to perform at back then

Y: Comparatively, I felt more when we played at Shibuya Public Hall for the first time¹³, like, “We’re really performing in a hall.” I think that was for the SEVENTH HEAVEN tour too. Besides, BOØWY had also performed there before, along with ARB and musicians of the like.

——Speaking of Shibuya Public Hall, that’s where BOØWY announced their split, wasn’t it?

Y: I went and saw BOØWY performing there too. Back then, the audience would crowd at the front of the entrance. I remember seeing band members of ROGUE and PERSONZ there too.

——How was the performance at Tokyo Dome¹⁴ for your comeback?

Y: It felt like it ended pretty quickly, actually. There was no concept at the time, but we said that we didn’t want to make it such that people who wanted to get in couldn’t. Since we had to go on hiatus just before that, we didn’t want to let down anyone who wanted to come. That’s why I remember we said that we wanted to perform where everyone could enter.

——I see. In the past, I think someone said something along the lines of, “The adults (record company) had helped clinch [the venue] for us”, but I didn’t know that everyone in the band held such a hope.

Y: I believe that’s what it was. And also…… Tokyo Dome had only been open for about a year at the time, and I have a strong memory of how bad the sound system was (lol). In ROMANESQUE¹⁵, there’s a break after the “dan”, but the sound was reverberating and it turned into a “dandada~n” so there was no break at all (lol). It’s a venue that wasn’t originally made for concerts, so the sound engineer had to figure things out along the way too.

——I want to hear ROMANESQUE being played by the present BUCK-TICK too.

Y: Eh? Because it’s quite the song, isn’t it? And the hi-hat can’t be hit for that break. It makes you wonder how it all fits together (lol).

——So what happened in Tokyo Dome?

Y: I think the hi-hat was put in at Tokyo Dome. The ROMANESQUE we did in our amateur era had no hi-hat but we released a mini album, didn’t we? That was when we started including the hi-hat, I believe. It turned into something impossible (lol).

――It gets more difficult as the venue grows bigger, doesn’t it?Y: Because we all had our eyes on Anii back then (lol).

――BUCK-TICK tends to stage elaborate performances too. I’ve even heard that once something new can be utilised, it’ll very likely be employed in BUCK-TICK’s shows.

Y: That’s right. When the opportunity presents itself, our stage planner would want to try doing something interesting. One of our shows, there was spider silk, right? Where it flys out together with tape streamers. That was something our stage planner came up with. I heard that it would be out of this world if he owned the rights to that one. Apparently he got the idea when he went to watch a kabuki performance, he saw that white spider silk flying through the air and started wondering whether there was a way he could somehow employ that effectively. That started from BUCK-TICK’s stage. After that, he thought projectiles were really fun to work with, so next, he sent Cyalume (glow-in-the-dark materials) flying. He wanted to make Cyalume-filled pill capsules that were slightly bigger than medicinal ones fly with special effects, but they shot out [of the cannons] so quickly that there were no [visual] effects at all (lol). There wasn’t enough light intensity so they all fell to the ground before they could even start glowing.

――To think there were such failures too (lol).

Y: We also had artificial roses falling. Since they were artificial, they were heavy so they just dropped to the ground with a thud. He wondered if there was something he could do about it but, since they had already been made, we decided to just go ahead with it and let them drop down on us. I had them fall on my head and get stuck too (lol). Basically, if the stage was small, the flowers would drop above me too. I guess the correct solution to that might’ve probably been to lay them out on the floor.

――Appearing on stage from the inside of a giant balloon, rain falling down only on Sakurai-san’s head in a live house; you had a lot of jaw dropping stage productions.

Y: That was during our live house tour¹⁶, right. Depending on the venue, sometimes we could use that equipment and sometimes we couldn’t, yeah.

――The stage production in recent years seems to give the impression that you’re using the power and beauty of images and videos to further expand the world of the songs.

Y: The stage planner who worked with us throughout all this time thinking about all kinds of production had passed away so there’s now a new person in-charge which could’ve been the reason why there’s a slight change in the atmosphere of our recent concerts. And also that the resolution had gone up in the past three to four years which allows us to create particularly beautiful videos.

――Concert production has evolved considerably alongside the technological advances made in LED visuals.

Y: That’s right. Even for music videos; we had always recorded them on film and when we suddenly switched to filming digitally, everything was captured so clearly. It somehow felt unpleasant so we would make those sharp images a little bit grainier.

――Around when was that?

Y: Probably 21st Cherry Boy¹⁷. It was around that time when we suddenly went digital. I remember feeling like it’s a TV.

――Being in business for 35 years, you’ve been directly affected by the shift from analogue to digital, and later on, the further advancements of digital recording. What do you think about this present era we’re in where people can listen to music for free?

Y: We are still releasing CDs even now, but we’re definitely trending in that direction, aren’t we? Like David Bowie said, in the end, music itself is going to become like running water or electricity.

――How does Higuchi-san usually listen to music?

Y: I import CDs into my PC to listen to them.

――What kind of music do you listen to in your own time?

Y: Instead of new releases, I more often dig up old music to listen to these days.

――When you go back as an adult to listen to the music you used to listen to, you’d sometimes come across new discoveries, right? Like meanings in the lyrics.

Y: And that happens with the music we make too. Something would be playing and just when I think that this particular track sounds pretty cool, I’d realise, “Huh? Is this BUCK-TICK?” (Lol) There and then I’d become aware that a particular song had been arranged in a particular way, or something.

――And you’ve got an impressive catalogue too.

Y: That’s why I’m doing my best to listen to our own music now (lol). I have to get it all in, don’t I? Since last September’s shows at Yokohama Arena, we’ve been performing throughout this whole time and if I don’t take something out, nothing can go in (lol).  That’s why whenever we start touring, I’ll try my best not to listen to other music. I’ll listen to the songs that we’re performing for the tour, but I won’t listen to anything else. Even Anii says, “Don’t listen.” (Lol)

――You’re focused (lol). There’s a lot that makes me think that BUCK-TICK’s really amazing, like how you keep revamping yourselves with calling each release “the newest is the best”, but looking at your 35-year history, things weren’t always looking up and there even were times when your audience numbers dropped. I’m hoping that you could touch on that a little.

Y: We definitely felt it, back then. Since we weren’t making many appearances on TV and broadcast, suburbs won’t receive much information. I think music magazines were having their best days during that period, though. People living in the suburbs would probably get their information through magazines even if there’s no TV, but that was gradually on the decline which meant that information wasn’t getting to them and so started the situation of our drop in audience numbers.

――Were you anxious or anything like that at the time?

Y: Nope, we weren’t. Because it’s not as if there’s zero people. If we had zero then I think we’d definitely have to start thinking about things though (lol). What we were doing in Tokyo worked here [in Tokyo] so we said we would create this sort of a stage set to travel around the country with, but if we picked smaller venues in the suburbs because of a smaller turnout, the set wouldn’t be able to fit. Since we had to perform in venues that could fit the set, we didn’t have much of a choice except to go with the larger halls. Doing that is what led to empty seats.

――I see, so that’s the situation. How did you stay motivated then?

Y: Hmm… It’s more like, we weren’t all that disheartened (lol). We just continued business as usual. On the contrary, even in such a situation, we just feel happy that we were doing what we’re doing, all of us.

――While most bands would go on hiatus or disband because they couldn’t quite overcome such a period, BUCK-TICK made a comeback and have continued to see success since. That’s another part of BUCK-TICK that amazes me.

Y: You could say that our good points can be seen precisely because we’ve been at this for a long time. I don’t think that we’re all growing together. Let’s say, when everyone runs out at the  “Get ready, and start!” call, you could start out great but wither away towards the midpoint, and one by one, everyone would pull out or something. At the same time, there’s no way that everyone can always stay on the same page, is there? Even if you’re all, “Alright, let’s get going!!”, there are times when you’d realise that, “Huh? I’m the only one who went?” Right? When that happens, you’d tend to stop whatever you’re doing once you realise that something isn’t quite right, wouldn’t you? Then starts the blame game and all that.

――There’s none of that in BUCK-TICK.

Y: That’s right. Also because we left our [then] management and had the resolution that we’ll be giving our all going forward.

――Right, it was around that same period of time, wasn’t it?

Y: It was. We left that office and completely changed the way we did things.

――Perhaps it was good that you did a full reboot or something at that time. When I spoke to Yagami-san, he said that he had thought of quitting twice thus far, but has Higuchi-san ever had the desire to quit in the past?

Y: Nope, I’ve never thought of quitting. Although I have felt that things were a struggle, or rather, that it was difficult to raise my own spirits. There were times when I was having difficulties with my playing, or have found myself at a loss as to what to do, but I also feel that since the five of us have made it this far together, this is something I should cherish. I think Anii has never been better than now. Because everyone’s doing well, you know? Although, we can’t really push ourselves too much (lol).

Because we were kids when we debuted. Like elementary school kids feeling like, “I wouldn’t die even if I got run over by a truck”, “I’m invincible!” (lol)

――Has Higuchi-san ever experienced a change in your on-stage mindset?

Y: My personal turning point is around the time of 13-Kai wa Gekkou¹⁸; that’s when the change happened.

――How so?

Y: I started feeling like maybe it’s better if I don’t put on an act. That maybe, it might be a good idea to be my own usual self. Putting on an act as in, I’m all cheerful backstage but I have to put on a sullen face on stage, something like that. I guess that’s the kind of change that happened to me.

――That it’s okay to show your smile.

Y: That’s right. You could say we started communicating with each other. From another perspective, I guess it could also mean that I could see better now, the audience side. Before then, I might’ve been too preoccupied with my side of things alone.

――I’d say that’s a sign that you’ve grown more relaxed on stage. Because Higuchi-san and Imai-san coming out during the encore to take photos and videos from the stage was another thing that never happened in the past.

Y: We started doing that some years ago, but it was an initiative that came about from the idea that it would be nice if we could convey the atmosphere in the concert venue to those who weren’t able to come. Obviously, if we took photos of the stage set, there would those who feel like [the surprise has been] spoiled for them if they’re attending the next day or sometime in the near future, so we decided to take shots of the audience instead.

――How considerate (lol). But it’s true that the overall atmosphere of the concert changed. Like how you held huge festivals¹⁹ during your 20th and 25th anniversaries. Did such an experience influence you in any way?

Y: Ah, it did, yes. The more we went on with it, it really sank in that we’re not alone [in this].

――To close off your current 35th anniversary year, you’ll be putting on a show on the 17th and 18th of September at Gunma Music Center²⁰ in your hometown. Celebrating the end of the 35th anniversary year in your hometown; did this decision come from the whole band’s feelings?

Y: Didn’t we do a collaboration with Fujioka-shi²¹ this year too? While thinking about what would be a good way for us to head into our 36th year, we came to the conclusion that this was probably the best.

――Gunma Music Center is also a place of many fond memories for you too, isn’t it?

Y: That’s right. Because Gunma only had the Music Center back in the day. When we got to perform there²², it was definitely a very emotional experience. Despite the fact that it’s small, right. Both backstage and the stage itself. I hope we’ll be able to do something interesting there.

――After that, your live house tour²³, “BUCK-TICK TOUR 2023 異空 -IZORA- ALTERNATIVE SUN” will start.

Y: I’m looking forward to the live houses. Specifically, how we’ll present this 異空 -IZORA- vibe. I really wonder how we’ll portray in an environment without videos, especially because we could use videos for the hall tour.

――That’s true. I’m looking forward to it. The fact that you’ve continued to be forerunners as a rock band for 35 years is amazing in itself, but what does Higuchi-san hope for the band to achieve going forward?

Y: I want for us to keep going for as long as we can. Acchan also said the same thing in this tour’s MC, but essentially, we do our thing, we do our best  because there are people who will wait for us. Having been doing this for 35 years, I get emails, right, saying things like, “I came (to your shows) again because my children have all grown up and I have more time to myself now.” As long as these people stick around for us, I want to keep going, you know?

――Because there are people who will wait for you…… That’s exactly what’s written in the lyrics to Boogie Woogie²⁴.

Y: Exactly. I believe that too.

――Where you are now at this time in your life, would you say that this state of affairs is a dream come true for the whole band?

Y: That’s right. Besides, we started this all with the desire to have fun with lots of people in a concert.

――I think this not only applies to BUCK-TICK but to other long-running bands too, but while it’s true that the members of the band are fulfilling their own dreams, at the same time, I believe they’re also making someone else’s dreams come true. Like the dreams of not only musicians, but anyone who dreams of working with BUCK-TICK someday and works hard to forge their path to it. Because if the band ceases to exist, those hopes will never come true.

Y: Previously, when we went to a radio or TV station in Osaka, there were staff members there who said that to us too. They said, “I’m a long-time fan. Keep up the good work (これからも頑張ってください).” And their boss who was listening in on the side said, “You work hard (お前が頑張れ).” That made me laugh (lol).

――What a story (lol). Wasn’t there some controversy going on in the comedian industry about half-hearted generational baton-passing just a while ago? In the music industry, there are other bands from the genre-less BUCK-TICK’s generation who are still very active. I kind of wondered whether some band members of the younger generation might’ve sympathised with this controversy (lol).

Y: You mean bitching about other people? Don’t even think about it (lol).

――It’s just that there’s something about BUCK-TICK that doesn’t allow people to say such things, right? Even teenagers think you’re cool when they look at you. Everyone will still kowtow to [BUCK-TICK’s brand of] beauty. Do you have some sort of secret behind it?

Y: Maybe it’s because we don’t really want to get old? On the contrary, I think there are probably musicians in our generation who actually want to grow old. Because you’d give off this cultured vibe, and that’s attractive or something. There are people who think this way, right?

――Do you wonder how many more times you’ll be able to do this, things like that?

Y: I’ve started feeling like this isn’t forever. I didn’t think that about these things when we debuted, neither did I think that we’d find ourselves here, now. Because we were kids, weren’t we? Like elementary school kids feeling like I wouldn’t die even if I got run over by a truck (lol).

――That was certainly a thing at that age (lol).

Y: Like, “I’m invincible!” And yet [the kids would] start crying the moment they fell over (lol). I think that’s what it felt like, when we debuted. I guess you could say that we were so busy that we couldn’t really think that far ahead. But as the years pass, you’d sooner or later start to think about these things, right? Looking at the bands who came before us, there are those who have passed on too. That’s why I really want to cherish this, all of this.

 

 

Notes:

¹ 異空 -IZORA- = Their 23rd album which was released in April.

² “BUCK-TICK TOUR 2023 異空-IZORA” = Their tour named, “BUCK-TICK TOUR 2023 異空-IZORA” which ran from April to July, 2023.

³ show at Yokohama Arena = The show named, “BUCK-TICK 2022 “THE PARADE” 〜35th anniversary〜” which was held on 23rd and 24th of September, 2022.

Yagami-san, Hoshino-san = Their respective interviews were featured in issue #102, published August 2022 and issue #104, published December, 2022.

our first show = Their performance, “BEAT FOR BEAT FOR BEAT Vol.2” which was held at Shinjuku JAM on 4th of December, 1985.

HURRY UP MODE = Their indie album which was released in January, 1987 (and later re-released with a major label as a remix version, HURRY UP MODE(1990 MIX) in February).

Toshima Civic Center = “BUCK-TICK現象 (BUCK-TICK Genshou)” which was held on 1st of April, 1987; the day HURRY UP MODE was released.

Shibuya LIVE INN = “BUCK-TICK 現象 Ⅱ at LIVE INN” which was held on 16th of June, 1987.

Tohoku Rock Circuit = An event tour which was held in March and April of 1988.

¹⁰ Yamaha Hall = Their performance in Sendai for the “BUCK-TICK 現象 TOUR” which was held on the 22nd of September, 1987.

¹¹ SEVENTH HEAVEN = Their 2nd album which was released in June, 1988.

¹² in the Nippon Budokan for the first time = Two days of shows which where held on the 19th and 20th of January, 1989 as the final of their “SEVENTH HEAVEN TOUR” which started in October, 1988.

¹³ Shibuya Public Hall for the first time = Their performance in Tokyo for the “SEVENTH HEAVEN TOUR” which was held on 13th of October, 1988.

¹⁴ Tokyo Dome = “バクチク現象 (Baku-chiku Genshou)” which was held on 29th December, 1989.

¹⁵ ROMANESQUE = A track recorded on their mini album, ROMANESQUE which was released in March, 1988.

¹⁶ live house tour = Their tour named, “TOUR2013 COSMIC DREAMER” which ran from January to March, 2013.

¹⁷ 21st Cherry Boy = Their 18th single which was released in November, 2001.

¹⁸ 13-Kai wa Gekkou = Their 14th album which was released in April, 2005.

¹⁹ festivals = “BUCK-TICK FEST 2012 ON PARADE” was held at Chiba Port Park on 22nd and 23rd of September, 2012. “BUCK-TICK 2017 “THE PARADE” ~30th anniversary~” was held at Odaiba Yagai Tokusetsu Kaijo J Chiku on 23rd and 24th of September, 2017.

²⁰ Gunma Music Center = For “BUCK-TICK TOUR 2023 異空 -IZORA- FINALO” which will be held on the 17th and 18th of September, 2023.

²¹ a collaboration with Fujioka-shi =A BUCK-TICK-themed flowerbed and more were featured in Haru no Fujioka Hana Meguri (Flower Tour in Springtime Fujioka / 春の藤岡花めぐり), a special event that was held between March to May, 2023.

²² got to perform there = Their first performance there was the Gunma show for their “SEVENTH HEAVEN TOUR” which happened on the 15th of October, 1988.

²³ live house tour = Their tour, “BUCK-TICK TOUR 2023 異空 -IZORA- ALTERNATIVE SUN” which will run from October to December, 2023.

²⁴ Boogie Woogie = A track recorded on the album, 異空 -IZORA-.

 

 

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Translation: Yoshiyuki
Scans: Yoshiyuki

BUCK-TICK Genshou -2023- Concert Report

JVC Music
5 January 2024

Text = Okubo Yuka
Photos = Seitaro Tanaka

 

【LIVE REPORT】
BUCK-TICK “BUCK-TICK Genshou -2023-” (BUCK-TICK Phenomenon 2023 / バクチク現象-2023-)
2023.12.29 at the Nippon Budokan

 

 

Come, let’s get started──

When 29 December’s BUCK-TICK Genshou -2023- at the Nippon Budokan was announced with those words, it felt as if they lifted our gaze which had been downcast for so long. This was three weeks after the news came on 24 October that their vocalist, Sakurai Atsushi had passed on.

This was a period when everyone quietly watched and waited to see what BUCK-TICK would do going forward after being hit by the greatest sadness in their history. Honestly speaking, that announcement was such a bright light that I subconsciously wanted to look away. Given that no details were announced about the show itself, I believe there were many who felt worried too about how it would turn out.

But it’s easy for us to imagine the extraordinary determination the band members had put into this show title. BUCK-TICK Genshou (BUCK-TICK Phenomenon / バクチク現象) is a title that they also used in 1987 for gigs they played around the time of their major debut, and for the first show they played after a six-month hiatus on 29 December 1989 at the Tokyo Dome. In other words, this term represents turning points for them.

Imai Hisashi (guitarist) appeared on the BUCK-TICK Genshou -2023- stage with the same bright red hair he had 34 years ago at their show in Tokyo Dome. The moment I saw him, my anxieties were blown away despite tears welling up in my eyes.

As the hall turned dark, powerful clapping sounded in time to the SE which played; THEME OF B-T. Higuchi Yutaka (bassist), Yagami Toll (drummer), Hoshino Hidehiko (gutarist), and Imai Hisashi came on stage in that order. After the words reading “バクチク現象 (BUCK-TICK Genshou)” came up on the crimson red screen, Sakurai’s silhouette appeared on the centre platform where he always stood.

“Come let’s get started, we’re BUCK-TICK!” With Imai’s shout, the first song started; Shippuu no Blade Runner. Instead of a mic stand in the centre of the stage, a few spotlights came together to shine down. Perhaps it’s because there’s no mic there, but it felt as if Sakurai’s singing came down upon us from the skies above.

Like a ray of light in the midst of despair, the glittering rock melody sings, “Tonight  (I) bring to you  a treasure  a promise (今夜 お前に届けよう 宝物だ 約束だ)”; a perfect description of this show. It felt as if they handed “hope” to us in the palm of their hands. A string of up-beat songs were played Dokudanjo Beauty-R.I.P.-, Go-Go B-T TRAIN, GUSTAVE, telling the audience to raise their heads and look up even if they are tearful.

Both Imai and Hoshino fired up the stage with more aggressive performances than usual. The energy in the hall went up every time Imai said a few words, like “Don’t miss the ride!” during Go-Go B-T TRAIN, and “Miaows. Hope you all have a good time today.” during GUSTAVE. During FUTURE SONG -Mirai ga Tooru- which features Sakurai and Imai’s duet, Higuchi tried imitating Sakurai’s movements, and Hoshino also sang, overlapping with Sakurai’s voice.

Most unexpected of all was when I realised during Boogie Woogie and Yagami’s powerful up-beat drumming that at some point my tears had rescinded and I was genuinely enjoying the show. I have nothing but admiration for the band and their ability to fire up the audience like this even though they all must have been in deep sadness at the beginning of the show.

The atmosphere took a turn in the mid-section of the show, reflecting vividly and sadly Sakurai’s absence by beginning with Itoshi no Rock Star where he sang alongside ISSAY (DER ZIBET) who passed away last August. During Itoshi no Rock Star, unbearable sobbing in the audience grew louder as we watched concert footage of the two of them on that day on screen.

Next was Sakura which started with an oriental-sounding instrumental by Imai. In this song, the screen and even the ceiling of the Budokan was filled with cherry blossoms dancing in the air; a sight so beautiful yet it added to the sadness. Adding on, Lullaby-Ⅲ and ROMANCE came after that like a sort of funeral march, letting us listen to the songs which strongly accentuated Sakurai’s aesthetic perspective one after another.

This show did not feature Sakurai’s footage throughout. Rather, there were a few songs where we could only feel Sakurai’s presence with his voice. Especially towards the end when they put together songs during which you could almost see him singing right in front of you.

Like the Latin-style dance track Django!!! -Genwaku no Django-, Taiyou to Icarus where he flies freely through the sky with arms spread wide, and during Memento mori where the audience actually had lights shining on them as if in sync with Sakurai’s movements in the video footage.

Smoke carpeted the stage floor in Muma -The Nightmare and the audience raised their arms into the air as if he reigned before our eyes, while during DIABOLO, the four members of the band looked like a circus troupe elevating Sakurai as the ringmaster. It was a moment when they distinctly carved out his profile as a vocalist precisely because he’s not around.

The encore started with Yagami’s drum solo and after the first song, STEPPERS -PARADE- was played, the band members who have yet to make any public statement thus far began to talk about their present feelings one by one.

Choking on his tears, Higuchi said, “BUCK-TICK is a live band so I believe we grew through our live shows. And it’s also something that’s created together with everyone. Although Acchan has gone to heaven, BUCK-TICK will always be five. I don’t know what kind of future it will be, but one thing I know for sure is that we’ll continue as BUCK-TICK with everyone.”

Yagami eased the air when he commented, “I never thought my delinquent younger brother would say such admirable things.” Then, he added, “You could say it’s unprecedented, the situation it’s turned out to be. Should we continue, or is it better to stop? We gave it a lot of thought. But given that we have all of you fans like this… we would like to keep going as BUCK-TICK.”

“We managed to take a new step forward today. My sincere thanks to all of you for making your way to the Budokan despite the uncertainty. You were worried, weren’t you? Everyone was worried. But the Parade will still continue from here on out. I’ll say again:

The Parade goes on,” said Hoshino.

After him was Imai. “Life sure is unforgiving, huh? So dramatic it’s almost hilarious. But it isn’t funny. Hell, you really died. Huh? It’s okay, because we can go on. We’ll go together,” he said to a loud round of applause. “Acchan’s died but there’s nothing wrong with that. It’s just a fact of life. So we may be sad, we may cry, but don’t agonise over it. Rather than focus on his death, that he’s not here anymore, instead cherish the fact that he lived, that he existed with us in the same space,” he went on. “Next year, BUCK-TICK will make new music, and a new album. It’ll be the newest, bestest BUCK-TICK so please look forward to it. But please be prepared. Next, we’ll be three. But even then, the Parade continues. Then it’ll be two, then one, I think I’ll probably be the last one standing. And even then, we can keep going, so I want to take everyone along,” finished Imai with this powerful statement.

After that, they moved on to flying the words “LOVE” and “PEACE” high in Eureka before going into LOVE ME which began with Sakurai’s MC where he said, “Everyone, let’s love ourselves.” It was here when a hiccup happened for the first time where Sakurai’s singing and the video footage differed from the four members’ live playing. The band looked determined to find some way to turn this around. It was the most human expression I had ever seen on them.

Coincidentally, Sakurai in the video also seemed to have a bit of a bitter smile on his face. Even though anxious, the audience also tried their best to help by singing the chorus with all their strength. When the singing ended, the playing did too in perfect timing, and we saw Sakurai off the stage as he waved, saying, “See you soon. We’ll meet again. For sure.”

The last two songs were COSMOS and Na mo Naki Watashi; what seemed to be a deliberate choice of two songs which massively filled the hall with messages from Sakurai. And the second encore, started with Sakurai’s words of “Let’s go! Into the future!” as the band leapt into New World. The light from countless mirror balls spread throughout the venue and the powerful light of the five’s performance brightly illuminated a future yet to be seen.

After the show, past music videos were shown on the screen, followed by an announcement that they will be holding a concert at the Nippon Budokan on Sunday, 29 December 2024. I believe every single promise like this one would become the hope which leads into the future going forward. BUCK-TICK has walked into unprecedented territory. I hope to continue enjoying the Parade led by this band who has decided to continue forward as five. Because it’s always BUCK-TICK who stirs our hearts with surprise and emotion.

Although we can wipe away the tears
we will never be able to wipe away the loneliness, so
let’s go and see BUCK-TICK again
in a place where we can share our sorrows and joys
let’s go and see BUCK-TICK again

 

BUCK-TICK Genshou -2023-
Date/Time: Friday, 29 December 2023  Doors open 17:30, show starts 18:30
Venue: Nippon Budokan

【SET LIST】

SE. THEME OF B-T

1. Shippuu no Blade Runner
2. Dokudanjou Beauty-R.I.P.-
3. Go-Go B-T TRAIN
4. GUSTAVE
5. FUTURE SONG – Mirai ga tooru
6. Boogie Woogie
7. Itoshi no Rock Star
8. Sakura
9. Lullaby-III
10. ROMANCE
11. Django!!! – Genwaku no Django
12. Taiyou to Icarus
13. Memento mori
14. Muma -The Nightmare
15. DIABOLO

<EN1>

1. STEPPERS -PARADE-
2. Eureka
3. LOVE ME
4. COSMOS
5. Na mo Naki Watashi

<EN2>

1. New World

 

 

 

 

Translation: Yoshiyuki
Source: JVC Music