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

Ongaku to Hito
September 1995

Interview = Ichikawa Tetsushi
Photos = Koij Kayano

 

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

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

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

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

 

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

A decadent conversation even under the sun

 

 

 

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

Sakurai (S): Mm, it’s been a while.

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

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

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

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

S: Mm…… Um…… It’s in return**.

I: Hahahaha.

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

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

S: Yeah. Mm…… On impulse (smiles).

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

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

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

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

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

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

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

S: Ahahahahahaha.

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

ーー Ooh, ain’t he reassuring backup.

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

I: Hyahahaha.

ーー How did the recording itself go then?

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

ーー Wahahahahaha.

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

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

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

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

S: But, y’knowー♡ (smiles).

 

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

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

I: “Aniki” (smiles).

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

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

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

S: Reallyー? (Smiles)

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

S: Dangerous (smiles).

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

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

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

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

S: Hahahaha. That’d be nice (smiles).

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

ーー What do you mean by “evolved form”?

I: It became more intense (smiles).

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

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

ーー I understand that feeling.

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

ーー You did that?

S: Did I ♡ (smiles).

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

S: Wonderful一 (smiles).

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

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

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

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

ーー What do you mean by your members being reliable?

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

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

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

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

S: It’s lonelyー (smiles).

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

S: Yes (smiles).

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

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

I: Hahahaha. “Aniki” (smiles).

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

 

 

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

 

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

I: Uhhuh.

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

(Both burst out laughing).

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

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

I: Issit a dry longing!? (smiles).

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

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

ーー Wahahahaha.

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

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

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

S: (Smiles) Your attitude, I suppose.

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

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

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

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

ーー During the recording of ‘TABOO’.

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

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

I: Kukukuku.

S: Hey, that’s mean! (Smiles).

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

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

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

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

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

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

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

S: Hahahaha.

I: Kukukukuku!

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

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

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

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

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

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

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

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

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

 

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

 

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

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

S: Right?

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

S: Hahahaha.

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

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

I: Gyahahaha. Kukuku.

S: Hahahahaha.

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

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

ーー What does Sakurai think about this?

S: …… P-Presumptuous (smiles).

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

S: No, not at all (immediate answer).

I: Hahaha. Oh, really?

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

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

I: Breakup? (smiles).

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

I: (Smiles) That’s cold.

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

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

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

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

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

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

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

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

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

S: I’ve no idea at all (smiles).

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

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

S: Hahahahahaha.

 

 

 

 

Notes:

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

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

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

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

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

 

 

 

 

Translation: Yoshiyuki
Scans: yasromance

 

Related articles:

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

 

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

Ongaku to Hito
May 1994

Interview = Ichikawa Tetsushi
Photos = Kitajima Akira

 

In Chinese | In Russian

 

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

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

 

 

 

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

ISSAY (I): Hahahahaha.

ーー Shall we start with a few perfunctory questions?

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

Sakurai (S): Hahahahaha.

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

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

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

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

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

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

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

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

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

I: Really?…… That’s horrible! (lol)

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

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

ーー What kind of hairstyle did he have?

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

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

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

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

I: I’m so happy! (lol)

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

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

ーー Ah, the legendary Sakurai Atsushi drummer era.

I: Eh, you were a drummer!?

S: Yeah.

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

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

I: Don’t keep watching it! (lol)

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

 

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

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

I: (Lol) Ohh, you.

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

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

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

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

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

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

S: Hahahahaha.

ーー Is he getting embarrassed, this man?

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

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

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

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

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

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

S: (Lol) With feelings of envy.

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

 

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

I: That was when I saw your live.

S: Ah, that’s right.

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

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

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

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

S: Yes, right after we debuted.

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

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

ーー Sakurai said nothing?

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

S: (Shy smile) Is that so?

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

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

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

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

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

ーー Sakurai, why, are you embarrassed?

S: No no no (lol).

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

S: ………………… (lol).

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

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

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

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

S: Yeah.

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

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

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

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

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

ーー What were your thoughts about the live performance itself?

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

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

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

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

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

ーー MC!!!

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

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

I: Hahahahahaha.

S: Right? That was impossible.

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

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

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

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

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

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

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

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

S: Ah, mentally it indeed was really comfortable.

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

 

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

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

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

S: I went out.

I: Swam in the sea?

S: I did (lol).

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

S: Hahahaha.

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

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

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

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

ーー Wahahahaha.

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

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

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

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

S: Hahahahahahaha.

I: Atsushi is a homebody too, right?

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

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

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

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

S: Yeah, it’s tiring. I wonder why.

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

ーー Wahahahahahaha.

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

I: Thank you (lol).

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

I: I can’t go either (lol).

ーー What would Sakurai go to Hands for?

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

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

ーー These guys are useless (lol).

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

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

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

S: Let’s, let’s (lol).

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

ーー While listening to Sisters of Mercy.

S: Hahahahahaha.

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

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

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

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

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

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

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

 

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

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

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

I: That is indeed unusual.

S: I think so too (lol).

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

S: Fufufufu.

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

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

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

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

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

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

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

S: Because fashion comes first.

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

I: Hahahahaha. Styler (lol).

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

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

S: Hahahaha. What an amazing expression.

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

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

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

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

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

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

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

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

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

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

I: But, well……

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

I: That’s what it is (lol).

S: Hahahahahaha.

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

I: Hahahahaha. Will you do it for me?

S: If you’ll have me!

 

 

 

 

 

 

Translation: Yoshiyuki

 

JAPAN Tribute Extravaganza!!

Ongaku to Hito
October 1996

Interview & Photos ー Ichikawa Tetsushi

 

 

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

 

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

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

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

 

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

 

 

 

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

 

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

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

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

M: Ohh, there it is (smiles).

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

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

I: We’re bosom friends ♡.

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

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

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

M: … Sorry.

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

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

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

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

―― Oh, come on. How old were you?

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

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

―― What did it open your eyes to?

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

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

M: You were really helpful to me.

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

―― What kind of teenager were you back then?

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

―― Introverted.

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

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

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

―― So it’s just a means to an end.

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

―― You’re overly concerned (smiles).

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

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

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

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

―― You were a pure and earnest teenager.

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

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

M: Yes, yes, exactly!

I: Hahahahaha!

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

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

M: Yeah, that it did.

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

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

M: Waa♡!

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

I: I was set up (smiles).

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

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

I: Yaay (smiles).

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

―― ……

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

I: (Smiles) It’s okay, it’s fine.

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

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

M: Ahh, perhaps that’s it.

I: Maybe that’s what it means.

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

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

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

M: Hahaha. Ahー I see.

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

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

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

M: Hahahahaha!

―― You do love JAPAN after all.

Both: Hahhahhahhahhahhah!

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

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

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

M: Yeah, that’s a battle, isn’t it?

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

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

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

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

 

 

 

 

Notes:

¹ Morioka Ken’s nickname.

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

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

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

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

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

 

 

 

Translation: Yoshiyuki

Voice Magazine Vol. 02
September 2002

 

Coming into contact with T-REX and SEX PISTOLS led ISSAY to pick up a microphone himself. What are the “memories of songs” of this man who has, ever since, been performing on stage; the one and only place where he belongs?
Because of his appearance of being drawn to the virtuous¹, there is no doubt that this is what makes him beautifully dignified¹.

 

 

 

 

Poise¹ drawn to the poised¹

 

■ Are there songs that you’ve always listened to right from the very beginning? Something that you’ve never had a period of not listening to?

ISSAY (I): There aren’t any that I’ve come to dislike, but there are those that I don’t listen to for a time, for sure. Like, say, the Doors². I love them but there was a period when I didn’t listen to them for years, too.

■ It just suddenly hits you that you haven’t been listening to them?

I: Yeah, exactly. Also, in my case, there was a period when we transitioned from vinyl records to CDs, right? There were also occasions where I didn’t listen because I had the vinyl record but didn’t have the CD version. Excuse³ the old talk (wry smile). That’s probably what happened with the Doors. For me, when I get stressed, I’d end up going to the bookstore or the CD shop and buy tens of thousands⁴ of books or CDs. Doing that somehow helps me to destress. That’s when I’d buy [music], though.

■ Among all of that, are there any songs that mean something special to you?

I: I think there are. Those that I’ve got an emotional attachment to, you know? If they’re people I liked in the past, I can’t help but buy [their releases] even if I think they’re not that great these days. So, although I know that I only like this person[‘s work] from this period to this period, I’d buy their releases again even when they’ve changed completely. For Lou Reed⁵, it’s definitely [the songs he released] around the time of TRANSFORMER⁵ and BERLIN⁵ that I love the most. Although I’d still listen to him if he releases [something new] now and I’d still go and see him if he comes [to Japan]. I’d say the same goes for Iggy Pop⁶.

■ And that’s because it’s the people themselves after all?

I: The fundamental parts of them won’t change that drastically, right? Besides, even if the music they make gets a bit boring, I still like their voices anyway and things like that.

■ On the other hand, is there anything that you were crazily into at one point but now you wonder why you ever liked it?

I: Probably, yes. Nothing comes to mind now, but I think there’s definitely something like that. What, though? It’s very possible that there’s something. I’m most certainly sure there is. Probably something from the new wave period. If it’s those guys from that period, I think it’s very likely that there are quite a few (smiles). I can’t think of anything, but I’m pretty sure there’s something.

■ What songs did you listen to when you were an even younger child?

I: The usual popular ballads. But I was just listening to them because they were popular. I did think that Sawada Kenji-san⁷ was cool, though. Because, you see, he had a backing band in the formation of a rock band, didn’t he? I don’t know if I’m right, but among solo artists who perform popular ballads, that man was the very first person to have a rock band-styled backing band, wasn’t he? At least, that’s what I think. Prior to him, all of them used orchestras, didn’t they?

■ What about [music] aside from rock bands?

I: Among chanson⁸ singers are Jacques Brel⁹ and Léo Ferré¹⁰, though. I like the two of them. I think it was already about 10 years ago, but I happened to turn on NHK’s educational program in the middle of the night. And on it, they were doing some sort of French language course or something when they put on an interview with Léo Ferré and I thought, “What a strange old man.” Right at the end, he was playing the piano and singing a song, probably Künstlerleben¹¹ or something, and I was blown away by that. And less than half a year later a 2-disc best-of compilation was released. Among the few different genres in it, Jacques Brel was in there too and that [release] was when I grew to love him. Jacques Brel’s songs have surprisingly been covered by rock musicians too. I guess in the end, if you like him, you like him.

 

The result of a huge misunderstanding?

 

■ Who inspired you to sing?

I: If not for the SEX PISTOLS¹² and T-REX¹³, I don’t think I would’ve done it. Up until [I came into contact with them,] I’ve only been listening to music because I liked it, but I’ve never thought of making it myself. I’ve said this a lot, but when I heard T-REX and the SEX PISTOLS, I got this huge misunderstanding that if this [is music], even I can do it.

■ That you’re capable of it?

I: I thought [I’m capable of] that simplicity.

■ The feeling that it’s possible for you to actually do it?

I: Yeah, I was convinced [of it]. Doing something like that is actually the most difficult, though. I was probably in high school, or graduating from high school when I heard it and I was like, “What the hell, if this is all there is, even I can do it.”

■ You were on vocals from the very start?

I: Formed a band. And of course, I was going to sing.

■ Did you start off doing covers of their songs?

I: When I was about to start my very first rehearsal with the band, I thought that we should cover T-REX’s songs. But I had already written a song by the time I actually stepped into the studio for the first time. Now that I think about it, it wasn’t all that much of a song but it was made.

■ How did you compose it?

I: Humming. By humming, I went to the bassist or the guitarist’s home and told him that’s the kind of song it is. Then he suggested to start a band. But I didn’t listen to Japanese music at all and had zero clue about the rock scene in Japan, you know? I didn’t intend to start a band, but I’ve never even thought about how I was going to go about it. So, when my band members said, “Let’s get a studio,” I thought, “Ah, I see. So we need to have a studio.” (Smiles). But all I had was confidence even though I didn’t know anything. I just had the confidence that I could do it. And you know what? I absolutely hate singing in front of people.

■ Even now?

I: Even now, I don’t like it. But it was far worse back then. I couldn’t sing unless I drank and got absolutely drunk.

■ Were you okay with going into the studio?

I: I’d also drink when I go to the studio.

■ You can’t [sing] as long as there’s someone else around?

I: That’s my impediment (wry smile). It’s contradictory but this is a weird thing [about me]. Although I hate it, all I can do is sing in front of others, right? That’s why I drink and get it done. Performing by using that momentum, I thought I was definitely a genius [for coming up with that], but now that I think about it, I have no clue where those ideas came from.

■ When you look back on those days, do you attribute it all to your youth?

I: I guess you could say it was because I was young, but I suppose I just didn’t know anything. Because I was brainless (smiles).

Because I have a complex far stronger than other people

 

■ Have the music you listen to changed since you’ve started singing yourself?

I: Not particularly. Not until much later. After debuting as a professional, I took the suggestion that I should listen and find out what kind of music is being made these days rather than only listen to music I like, but it bored me (smiles).

■ Have you ever listened to a particular artist for the sake of singing your own songs [in a particular way]? Like, as a study.

I: I’ve never done that. That said, I used to think covers were just imitations. The singing is what comes out of this body of mine, so I didn’t think that it was up to me to perform songs however I liked if I were to sing by imitating someone who has different vocal chords and a different bone structure. Looking back, I think it would’ve been good had I done covers.

■ Why?

I: In terms of singing techniques.

■ Do you have any influences from your favourite vocalists?

I: Like techniques or habits, I have those, right? I think I’ve been influenced in those areas, very much. Even if I didn’t have the intention to copy them, I’d absorb it all into my own body because I’m listening to them all the time, so I think it’ll more or less show.

■ What about things you’ve consciously referenced?

I: With regards to singing, none at all. In the area of staging, outfits or whatever, I’d always look at all sorts of things and incorporate what I think can be incorporated. Aside from singing, there’s a lot of that. Be it fashion, or anything else, I’d browse fashion magazines and when I find something that looks cool, I’d want to try wearing it. Similarly, if I think a particular artist is cool, I’d want to try dressing like them or something.

■ You still react that way to the same things?

I: Uh-huh, I do. Because in the end, rock isn’t just about the music. Well, you see, for me, I consider myself as a part of the adult entertainment industry¹³, in a way. Because I feel that this is a genre of music where a lot of importance is placed on what that person is wearing or what kind of person the performer portrays. And that’s why even now I’m still mindful about those things.

■ Does that mean the things you care about haven’t changed?

I: They do change, but I guess the fundamental part of it remains the same. Because the things that I’m drawn to are basically things that attract something inside of me, so long as [whatever’s within me] doesn’t change[, it will remain the same]. Besides, I’d never think of standing on stage wearing blue jeans and a t-shirt. Because, you see, there’s a ton of other guys out there who suit that style better than me.

■ So, it’s like picking what’s more suitable for yourself?

I: That’s of course, isn’t it? [It’s about] how effectively I can make people go “Eh?”, or “Whoa!”, and so on. Because, what’s the point if you can’t leave some sort of impression on people? At least, that’s what I think.

■ Have you ever come across something that you think is really cool, but think you can’t wear because it doesn’t suit you?

I: I have. I’ve had that experience. Like, it’s because this is the body I have, you know? There are plenty of instances where I’d think that I’d be able to pull off this particular look if I were more muscular, but that’s not possible. Other people might look at me as a narcissist, but since I have a complex far stronger than other people, it’s of course (wry smile).

■ Ah, I see. Do you think you will be drawn to something different again in future?

I: You see, I think it’s something that changes with the times. So it is changing. I mean, among those who are a little older than me, there are people who love Ivy¹⁴ and they’d spend their whole lives wearing Ivy. That’s not what I want to do. Because doing that will make time stand still. Instead, what should we do in the next era with this same spirit that loved Ivy in the previous? For example, I love glam rock a lot, right? That’s a movement which started up around 1972 or ‘73 in England, and if you ask me what is the form it evolved into some years later, I’d say it’s punk. To me, I think that London punk and glam rock are very similar. Because I believe it’s just the approach that adapts with the times and those sorts of changes.

■ But the spirit of it, so to say, or the roots are the same?

I: Depending on the era, if you think about it in the sense that we’re holding on to the same roots, I’d decide that, well, if these are the kind of times we’re in, let’s change and do it this way.

■ What does ISSAY-san think your roots are formed by?

I: I believe it includes the way I was brought up and later on, finding pantomime. When the way to portray something isn’t suitable for a musician, I’d become a representative of pantomime; it’s this very dramatic way of thinking about things that I have within me. But, you see, I’m a person who’s very interested in stage performance to begin with. Say, for example, Jim Morrison is cool because he performs on stage in a particular way. And I feel that’s good enough for me to classify him as a theatrical person, in terms of that era. Besides, he’s a very flashy person too. Even glam rock, which came afterwards is very much like that too, don’t you think? The SEX PISTOLS were like that too. Because, you see, people don’t sing like that, do they? Normally. I believe that is, without a doubt, influenced by theatre or film.

 

You know, I love refined¹ [rock music]

 

■ Are there songs that you think you’ll continue listening to in future?

I: What are there? I think there are definitely some but none come to mind. Recently I haven’t really been listening, not that much. I’ve got a cycle, like, there’d be times when [I think that] rock is noisy so I don’t like it. Those periods when I don’t listen to rock at all.

■ How long do these periods last?

I: The longest so far went on for about a year. The rock that I’d listen to is pretty much just Lou Reed, and there are even periods of time when I really listened to nothing except chanson and classical music too. Though, I do wonder if it’s just my own mental issues. Well, now, as to what I’m leaning towards, rather than rock, I’m in this state where I’m looking for something, but I think I want to listen to dark latin music or something. It’s just that I’ve got no knowledge in that area so I don’t know what kind of musicians I should listen to, but I want to listen to stuff that sounds like old cabaret songs and the like. That’s what I’m feeling strongly now, I guess. Like Kurt Weill¹⁵, early 20th century German songs. I have [a desire] to listen to this kind [of music]. I listened to BERLIN⁵ yesterday after a long time, Lou Reed’s. It’s got a dark vibe, doesn’t it? I can’t listen to that, you know, unless I’m full of energy and vigour. Like, “Ugh, it’s so dark~” (smiles). But that album is so well done, you know? I think it’s a masterpiece among masterpieces. I listened to the Jesus and Mary Chain¹⁶ too, yesterday. I just happened to borrow it from a friend to listen to it, though. Well, you know, speaking of rock music, I love refined¹ ones, mhmm. It appears rather than the chaotic, messy types, I prefer those who say, “Alright, that’s enough.” That’s what British rock musicians are like, right? American rock musicians are different, though. Aren’t there a lot of party-stunt types among British rock musicians? Like, I may be bad at playing the guitar, but if you make me do this, I’ll be the best in the world at it. I like those types, it seems, somehow.

■ Do you want to be like that too?

I: You know, that depends on the song, though. HAMLET MACHINE’s arrangements, well, TATSUYA’s quite the conscientious person, so he’d do it up real elaborately before sending it over, but there are also times when I think that it’s kind of chaotic, you know? And I’d tell him, “It’s good like this. Because if you make the chorus like this with this sound, this side would win.” But then, you know, TATSUYA would say, “Where the hell are you getting that sense of winning and losing from?” (wry smile). But that’s how I think, you know? In the end, doing rock music is about going all out and doing it in the most impactful manner to leave something with the audience. Even just a single word is good, but as long as you’ve left some sort of impression on them, you’ve won. It’s about how much of an impact you can make on people. This is a way of thinking which belongs very much to the impetus of the early days of rock, and that’s not all there is to it, but such a way of thinking will always be there, you know?

 

 

 

 

 

 

 ISSAY

Vocalist of HAMLET MACHINE. Born on 6 July in Shizuoka. Cancer, blood type AB. Major debuted in 1985 with DER ZIBET and their release of Violetter Ball. Thereafter, they released 12 original albums before going on an indefinite hiatus which began in October 1996. He then formed Φ¹⁷ (Phi) in 1998 together with Hirose Satoshi. They disbanded in 2000. His activities with HAMLET MACHINE started in 1995 and it went on on an irregular basis until August 2000 when they restarted activities with new vigour and are still going strong. His presence, charisma, and of course, his singing have gained him much support from fellow current artists.
His hobby is night walks.
His favourite vocalists include Lou Reed, Jacques Brel, Jim Morrison, Leonard Cohen¹⁸, David Bowie, Iggy Pop, and many more.
Recently, he has also formed a band called ISSAY meets DOLLY and is writing songs for them aside from HAMLET MACHINE.

 

■ HAMLET MACHINE

Formed in 1995 together with ex.ALL NUDE’s TATSUYA. Particiapted in the omnibus album DANCE 2 NOISE. After that, activities went on on an irregular basis while each member continued activities with their own bands until August 2000 when they restarted activities with new vigour. They have since released Evil Flower (October 2001) and TRANCE-MISSION (April 2002). On 7 July of this year, they successfully held a solo live performance at Shibuya ON AIR WEST.

 

 

 

 

Notes:

¹ These words all refer to the same Japanese vocabulary: 潔い (isagiyoi). It can be translated as “elegant”, “dignified”, “virtuous”, “graceful”, “manly”; a whole range of words. In general, it is meant to refer to a person who is decisive, resolute, a good sport, an all round gentleman.

² The Doors were an American rock band formed in Los Angeles in 1965, with vocalist Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger, and drummer John Densmore.

³ He said スイマセン (suimasen) rather than the proper “sumimasen”.

⁴ I would think he meant tens of thousands of yen in value rather than item quantity but he didn’t specify it that way, so… it might very well be tens of thousands of things.

⁵ Lou Reed was an American musician, singer, songwriter and poet. He was the guitarist, singer and principal songwriter for the rock band the Velvet Underground and had a solo career that spanned five decades. Transformer is his second solo album and Berlin the third.

⁶ Iggy Pop is an American singer, songwriter, musician, and record producer. Designated the “Godfather of Punk”, he was the vocalist and lyricist of influential proto-punk band the Stooges, who were formed in 1967 and have disbanded and reunited multiple times since.

⁷ Sawada Kenji, who was nicknamed Julie for his love of Julie Andrews, is a Japanese singer, composer, lyricist and actor, best known for being the vocalist for the Japanese rock band The Tigers. Donning long hair and using makeup to accentuate his image, Kenji was one of the first (if not the first) pop idol to introduce Japan music culture to the ideas of dandyism and androgyny.

⁸ A chanson is, in general, any lyric-driven French song, usually polyphonic and secular.

⁹ Jacques Brel was a Belgian singer, songwriter, actor and director who composed and performed literate, thoughtful, and theatrical songs that generated a large, devoted following—initially in Belgium and France, later throughout the world. He is considered a master of the modern chanson.

¹⁰ Léo Ferré was a Monégasque poet and composer, and a dynamic and controversial live performer, whose career in France dominated the years after the Second World War until his death. He released some forty albums over this period, composing the music and the majority of the lyrics.

¹¹ Entitled 芸術家の生活 (Artist’s Life / Geijutsuka no Seikatsu) in Japanese, this piece is a waltz written by Johann Strauss II in 1867, following closely on the success of the popular “The Blue Danube”.

¹² The Sex Pistols were an English punk rock band that formed in London in 1975. Although their initial career lasted just two and a half years, they are regarded as one of the most groundbreaking acts in the history of popular music.

¹³ T. Rex were an English rock band, formed in 1967 by singer-songwriter and guitarist Marc Bolan. The band was initially called Tyrannosaurus Rex, and released four psychedelic folk albums under this name.

¹³ He used the phrase 風俗産業 (fuuzoku sangyou) which directly translates into “sex industry”. The sort of businesses it covers ranges from brothels, to soapland, to what the Japanese call “fashion-health” stores which are basically stores which sell vibrators marketed at women.

¹⁴ Referring to something called Ivy League style, also known as American Traditional. It’s a style which draws its primary influence from the Ivy League preppy style of the early 1960s, and the blue-collar American workwear of the first half of the 20th century. Read more here.

¹⁵ Kurt Julian Weill was a German composer, active from the 1920s in his native country, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht.

¹⁶ The Jesus and Mary Chain are a Scottish alternative rock band formed in East Kilbride in 1983. The band revolves around the songwriting partnership of brothers Jim and William Reid.

¹⁷ One of ISSAY’s other projects with ISSAY on vocals, Hirose Satoshi on guitars, HAL on bass, and Sato Minoru on drums. During their short period of activity, they released 2 albums, Φ(Phi) and Naked, and a single Knife of Romance (ending theme song for Angel Sanctuary’s OVA).

¹⁸ Leonard Cohen was a Canadian singer-songwriter, poet, and novelist. His work explored religion, politics, isolation, depression, sexuality, loss, death and romantic relationships. Cohen was inducted into the Canadian Music Hall of Fame, the Canadian Songwriters Hall of Fame, and the Rock and Roll Hall of Fame. He was invested as a Companion of the Order of Canada, the nation’s highest civilian honour. In 2011, Cohen received one of the Prince of Asturias Awards for literature and the ninth Glenn Gould Prize.

 

 

 

 

Translation: Yoshiyuki
Scans: devalmy on LJ

 

On Sakurai Atsushi’s World

PHY Vol. 5
december 2015

Interview text by Ishii Eriko
Photography by Yoda Junko

 

 

DER ZIBET’s ISSAY Speaks of “The World of The Expressionist, Sakurai Atsushi”

With The Mortal, Sakurai Atsushi has inscribed that which is his core into his work. He professes that DER ZIBET’s ISSAY is “a senior (senpai) who he respects”, and their relationship has only deepened since his debut. ISSAY, too, dwells in the same dark universe of Sakurai’s, and is an artist who has embodied the concept of decadence since the beginning. Each having their own values resonate with the other for close to a quarter of a century, ISSAY shares his thoughts on the expressionist, Sakurai Atsushi.

 

 

 

I don’t think that he is one who has ever aimed to be “gothic” or “decadent”
This is a consequential result. That’s the part of him that I can empathise with the most

 

I think it was around the time when BUCK-TICK debuted that I first came to know of Sakurai Atsushi-kun as a person. When was that……?    When we released our second album, there was a TV recording. The location, it was Meguro’s Rokumeikan. Back then, there was another shoot for a broadcast that would be aired on a different day from ours going on as well, and BUCK-TICK was there. We were put together backstage, and that was the first time we exchanged greetings. When I think about it now, I think Atsushi-kun probably mustered up a lot of courage to come and speak to me (smiles). Because he isn’t the type of person who would initiate a conversation, you know.

When we met, I already sensed that he was someone who liked the same things as I do. From the very first time that we spoke, I got the feeling that “this person’s preferences are probably very similar to mine”. I wonder, what made me feel like that? We had casual conversations about live performances and such, and we spoke about the musicians who we liked, but perhaps it was from what was shared in those conversations that I understood very well that he was someone who looked at things from the same perspective as I did. There’s a glam rock mentality, and there are people who like the most pop-like image that from the “Let’s Dance”* period. But for us, I could feel that we both liked David Bowie for that unique depth and gloom. I thought that this was the viewpoint of ours that matched.

It’s the same for me, but Atsushi-kun is a person who really likes things that revolve around such gloom and depth, isn’t he? If I were to put it in a more easily understandable word, I suppose that would be “darkness”, I guess (smiles). But, you know, when I look at him, this is what I feel but, I don’t think that he is one who has ever aimed to be “gothic” or “decadent”. This is a consequential result, isn’t it? Perhaps you can say that that’s where we’re similar, or that’s the part of him that I can empathise with the most. There are many who express themselves with “decadence” as a goal, but there just aren’t that many people who turn out like this as a consequential result. When he expresses what he feels and what he likes in the words that he favours, the resulting product ends up getting considered as “gothic” or “decadent”. That is…… because he will always see the duality of things too after all, isn’t it? I suppose, like how the scent of death will definitely be found right next to something with vitality. I think he’s the kind of human who has the sensitivity to sniff out those kinds of things.

You know, every time I see him, I come to understand that he is someone who possesses something similar to what I have. We happened to bump into each other a number of times after the first time that we met at Rokumeikan, you know. Like, we’d bump into each other outside the venue when we’re going to watch lives by foreign artists, then we’d stand there and talk for a bit. Among these occasions, the funniest one was when I was on the way back from a tour, we were traveling

in the equipment vehicle so we were taking a break at one of those service areas along the way. Just then, this tall, blond guy** began approaching us with this huge grin on his face, and as I was wondering “Who’s that?”, it was Atsushi-kun. Our conversation went something like, “What’s up?”    “Well, we’re in the middle of a tour.”    “Same. Me too.” (smiles). It made me think that it’s like we’re tied by fate or something.

Also, I suppose another thing that surprised me was, back when we were recording our 4th album, ‘GARDEN’, in London, BUCK-TICK was also recording in London as well. Before this, he did say to me that we should meet if we could, but well, I’m going to London, you know, so I figured that it’s rather unlikely that we’d happen to bump into each other. But we met (smiles). So, then, I heard that they were going to perform live in London, and it just so happened that on that day, we finished our recording session early, and the venue also happened to be near the studio. So I thought, well, let’s go and see, and I went over with my band members, right. It really was just a continuous string of coincidences. If this happened between a man and a woman, they would’ve already fallen in love, wouldn’t they (smiles)?

Even after we became friends, my impression of him is still the same as what I had in the beginning, you know. He’s always been a gentleman, and he barely gets surprised in the way a person goes “Ah, so such a thing exists”. It’s still the same image as the one I got when he first came up to me and spoke to me. Despite those intense eyes, he’s such a terribly shy person (smiles). And he’s mischievous, isn’t he? He has such a great sense of humour. Those little things that he suddenly blurts are funny too. Once, when we were parting after having met for work or something, he said “…… Next time, let’s have a beer too”, you know (smiles). “Sounds good, a beer.”    “We’ll both go for a beer together next time.” and so on. Since then, we kept saying “Let’s have a beer” to each other (smiles).

He drinks a lot, doesn’t he? Well, but all the members in BUCK-TICK are like this though (smiles). But when it comes to Atsushi-kun, you know, he doesn’t change much even after he’s had alcohol. When we’re drinking, we speak as per normal, you know. From “what have you been up to lately”, to conversations like “Have you listened to this work before?” or “Have you read this book before?”. Also, we send albums to each other, so there’d be talk like “That album was nice”, or “Klimt*** was used on this album’s cover, wasn’t it”    “Well…… but I do know that ISSAY-san loves Klimt though”, and so on (smiles). Our conversations generally revolve around these exceedingly average topics, you see. With Atsushi-kun, I drink with him probably only once or twice a year, and we do go and watch each other’s live performances, and to me, it’s quite rare for a relationship to last this long with someone, you know.

 

Without considering solitude and loneliness as negative emotions
Embracing them as if they are very precious things
I think that he is aware that this is who he is

 

When I see him on stage, during a live, it no longer matters that he is my junior (kouhai) or younger than me, I think that he’s a really impressive person. Firstly, it’s that voice, you know. He has a magnificent voice, and he knows how to sing in a way that makes the most of it. Though when he steps out onto BUCK-TICK’s stage, it’s like there’s an extreme tension, and when he comes out, it somehow feels like a string snapped apart to the beat or something. I do wonder if it is at that point when his personality changes. Perhaps, you know, maybe during his high school days, his friends thought that it’s rather unbelievable that he could be someone who can be a vocalist and sing in front of other people. When you look at how he normally is, you wouldn’t believe that with music, he is someone who will go out in front of people. I imagine that he’s the type of person who you wouldn’t expect this from, you know.

But, ever since a certain point in time…… somehow, he changed, you know. Initially, he was uptight and full of nerves, but after a certain point in time, he grew very gutsy. When was that?    Or should I say, he grew defiant. Like, “I am me, this is how I am, so there”. Maybe he grew defiant, I think. Probably…… it was in the middle period. I think it was during the period of time when they released that album where I was asked to be a guest on one of the songs (Six/Nine, 1995), but ever since then, all of a sudden, Atsushi-kun became strong, didn’t he? I began to feel something dignified in him, like he’s declaring “This is me”.

I think that now, he truly is the type of musician that I like. In any case, in these few years…… From time to time, I can see glimpses of him enjoying fiction. The fact that he makes me feel that “Ah, to think that such an artist exists in Japan and in the major labels too” is a very promising thing, and it makes me glad, you know.

In BUCK-TICK, each of the members understands their own positioning extremely well, and I think that they are a band where it turns out exceptionally nicely. You know, usually, someone would keep yearning for the spotlight and stepping out to the front, and then the band goes bad (smiles), but it’s amazing that they don’t have this, isn’t it? The band members understand very well things like “Ah, he needs to be the one in front now” or “I have to stand in here for this moment”. And without ever wavering, they’ve just continued on like this all~ the way. But this time, Atsushi-kun stepping away from that and creating a solo project with a band is…… a lot of pressure on him, I think. But since he has decided to work on a solo project, there’s no way that he can run away from that pressure, is there? Because it was the same for me when I worked on my solo project as well. But earlier, I said that “There was probably a time when he grew defiant”, and I think, there is probably a need for him to grow even more defiant than that. The phrase “to grow defiant” doesn’t really have a positive image, but it also has the connotation of a person accepting themselves with “I am alright as I am”.  I think that it also means to lose whatever doubt you have in relation with yourself being as you are. But for him to have completed his solo work like this, isn’t it yet another contribution to him growing stronger? That’s what I think it is.

I’ve listened to THE MORTAL’s album, and the very first thought that came to mind was, “Ah…… He’s done it” (smiles). I felt that he’s done something really wonderful here. I suppose you could say that it’s really very much Atsushi-kun’s style. He’s excluded all unnecessary colours and the sort, and made it something that draws close to his own core, don’t you think so? Of course, it’s not like there aren’t any songs that make me feel like “Ah, this song wouldn’t sound odd even if BUCK-TICK were the ones performing it”, but, the colours are completely different after all. To put it precisely, there aren’t any colours at all, it’s a work that is in monochrome. You know, for me, I particularly loved the last two songs. “Mortal” and “Sayonara Waltz”.

In terms of the content that he depicts and his lyrics, there are things that I, myself, would not express in the same way if it were me. But I think that those parts, we both have, mutually. Because I express things with my own words, and him with his own. But when it comes to why he chooses to express something the way that he does, that, I can fully understand. I often get the feeling that even if the way he expresses these words are different, he’s probably saying the same thing, you know. Like, “Ah, so he sees such a world too……”. That comes across very clearly, doesn’t it? Developing empathy for the conceptual parts like that, I think it only happens with him. Of course, when I listen to other music, there are many occasions when I am surprised and I think “Ah, I see, so such an expression exists!”, but when it comes to him, I’d notice what’s under the surface, like “Ah…… I suppose this was what he saw” or “It seems like there was a moment when he felt like how I did”, and I’d find myself nodding in agreement. Well…… Perhaps we share the souls of lovers, right? Hahahaha!

But, speaking like this, I said earlier that the common aesthesic that we share is “darkness”, but that might be putting it a little too simply, you know (smiles). While it’s true that it can be considered as darkness…… it’s something that has more contrast than that. Like, take for example, when the blazing sunlight of midsummer shines down on a tree, the shadow of that tree isn’t total darkness. I can see the border that lines it. It’s not about whether I like or dislike it, it’s just something that I do out of habit, you know. There are people who say that they like dark things, but on the other hand, you don’t really meet many who naturally exude it like second nature. I think, what makes him and I even more similar is probably the part of us that is capable of treating things that an ordinary person would feel is negative, as very positive things. Usually, let’s say, for example, solitude and loneliness, these things would be treated as negative emotions and rejected. But for him and me, without considering them as negative emotions, we treat them as very precious things and plunge in. And then we accept them, embrace them. Because we understand that this is who we are, and they definitely do exist, they are fact. I think that this is something that Atsushi-kun is already distinctly aware of.

 

 

 

Notes:

* Referring to the album by David Bowie.

** In this sentence, he used the phrase お兄ちゃん (oniichan), which, in Japanese, does not necessarily mean ‘older brother’, especially when referring to strangers. It’s like a slightly more affectionate term used to refer to a random dude. An example would be calling a waiter in an izakaya お兄ちゃん, which would be similar to calling them ‘bro’ in English. Of course, there is the flipside where you call a waitress お姉ちゃん (oneechan). You could say that it’s one of those Asian things, similar to how we call everyone our ‘uncle’ or ‘aunty’, even if we’re not related.

*** Referring to the Austrian artist, Gustav Klimt.

 

 

 

 

Translation: Yoshiyuki

 

Related articles:

[Dec 2015] PHY Vol. 5: An interview with ISSAY for DER ZIBET’s 30th Anniversary & Bessekai Release

 

Bessekai Feature

PHY Vol. 5
December 2015

Interview text by Ishii Eriko

 

It feels like this is my life work to me
The one thing that I’d continue with for the rest of my life is probably this band

DER ZIBET is currently on their solo 30th anniversary tour with a show on 14th November in Tokyo, and on 22nd November in Osaka. Their 19th album “別世界 (Bessekai / Another World)” will be releasing on the 25th, and they will continue their vigorous activities as usual… but this is probably not something that can be written lightly. This is a band that has continued in their non-conformist ways since they first debuted because of their overwhelming sense of aesthetic and glamour. Even after going through label changes and a hiatus, their sound continues to ring on even now, aloof, without breaking down the high-strung fantasy world of theirs.

There are many songs in their new work, Bessekai, that gives us another good look at the nucleus of DER ZIBET. In other words, it is a masterpiece that is glamorous yet romantic, that is grand and decadent, that cannot be brushed aside as just another fantasy, that leaves behind a vividly sensual afterglow that seems to have no end. This is because of the charm of, as ISSAY puts it, [fiction]. Your own realism can be precisely constructed because it is [fiction].

In this extended interview, as he speaks of his thoughts and his frame of mind, a strong conviction can be felt behind his gentlemanly and calm manner of speech. Without a hint of [falsehood] or [factitiousness], they have continued on for 30 years. Seeing the strength of his smile as he equates DER ZIBET to his life work, once again, induces shivers.

 

 

 

When DER ZIBET debuted 30 years ago, there was as good as no scene in existence. Back then, what were you referred to as? How were you categorised?

ISSAY (I): Well, you know, we were all put together under one single category known as <European Decadance> (wry smile). There was that recognition that it was kind of easily picked up with just that alone though.

How did ISSAY, yourself, describe it in words? With regards to what DER ZIBET wanted to do, what you’re going to do, and such.

I: Back then, all I had was the image in my head that, in any case, I just wanted to bring out our aesthetic. You see, in this band called DER ZIBET, everyone’s musical preferences are all over the place. When the band came together, the one unanimous opinion that every one of us had was that <film music is interesting>, that’s all. We’re not a band that came together because we liked a certain type of rock and wanted to play it, we came together because we thought that we’d be able to create something interesting if we played with these band members. Because of this, we’re always swaying around, here and there. So, sometimes we use a very rock-like approach, but other times, we stray far away from that, using tango or even chanson in our approach.

How conscious are you of the fact that you are a band that plays rock, to begin with?

I: Hmm…… Instead of saying that we play rock music, it’s more like rock is the only genre that we can play, for us. But I think that rock music itself is something that has an exceptionally large scope. “This is rock” is not something you can declare over any one form. So, I think that the gesture of saying that “Something like this ain’t rock” isn’t very rock-like anymore, is it? And, you see, that’s why I think that it’s a question of how you can prune that and bring it out. You know, 3 years ago, we released our two-part work ROMANOID, and at that time, we ended up coming in with the image that <we’re frauds> too. Like, as if…… we’re only pretending to be a rock band.

I, thought that was a joke.

I: No. Because it was an album that made us think that our own contrivance would be brought to the front, that we’re just fakes and frauds. You see, that was subjective. Till now, that stance hasn’t changed either.

Frauds. What does this “fraudulence” relate to?

I: When DER ZIBET came together, we understood that we were somewhat different from the rock bands that took the royal road. Back in the day, for example, there was Chuck Berry and Elvis, then there was Led Zepplin, but I’m a human being who, no matter what, has never been partial towards such popular figures. Compared to that, the awareness of using this rock methodology to perform was stronger. That’s the reason why we’re a sham though. But that trickery is also being treated as one of the appeals of rock. The successive musicians that I liked were those who possessed this, you see.

Taking the backroads instead of the royal road. Not only that, you chose to go underground instead of aboveground. ISSAY-san’s expressions always tends towards that side, doesn’t it?

I: Yes…… Yes, that’s true. I do pantomiming as well, but when I stand on a theatrical stage, I’d first have it pitch dark, then I’d shine a light on it and create a world, you see. I like these kinds of man-made things. Then I’d spend a rather enjoyable night with my friends until morning comes, you know. But when dawn comes back around, I’d see trash rolling around in areas that got lit up, I’d end up seeing things that I don’t need to. I don’t like those sorts of things, you see. Perhaps you could say that bathing in the sun doesn’t suit me.

 

It’s extremely important to break free
Those who say <Ah, I’ll stop at this point>without breaking even once
right from the start won’t be able to express anything

 

Though it is said that bathing yourself in sunlight is good for your health. So you’re saying that you don’t want to be in such a place.

I: …… It’s turned out like that as a result, but, it’s just that, I’ve never aimed to be unhealthy, not even once. Though this time, we have a song like <Blue Sky (青空 / Ao Sora)>, and based on the summers from my memories, the seasonal sense that summer gives me, I definitely do not hate summer. I think I do have a longing for the vitality of summer. However…… I somehow end up feeling desolate, you know, when I see something with far too much vitality. Perhaps you could say that the more lively, the more energetic something is, the more heartrending it is. Also, having me…… sing something like <The summer beach is the beest!>, you don’t want that, do you?

Hahahahaha! On the contrary, I’d want to hear it.

I: Hahahaha. No matter how hard I try, I can’t do that, you know. I’d find myself feeling like I’m lying to myself.

Ah. So, even if you like contrived bands, you can’t lie to yourself.

I: Yeah. The contrivance that I’m into, in other words, is fiction, you see. Don’t you think that fiction projects the most truthful things? That’s what I think. Because fiction has no realistic ties at all, so it’s easy to bring out and convey this truth. Be it on a theatrical stage, or in a pantomime, or on a rock stage, it’s all the same, you see. Fundamentally, I am a human being who inhabits this space after all.

As someone who lives in fiction, what is reality^ to you?

I: …… If you feel that something is real in that moment when you hear or see it, then that is reality to me. No matter what kind of lie it is. For example, let’s just say that I tell you an outrageous lie while were having a conversation like this, right? But if you truly believe it and think <Ah, that’s very nice>, then that has already become a truth. Only in that moment. Isn’t it the same when you dream while you sleep? You seriously feel that it’s reality. Right now, I think you’re probably speaking of reality as something that has the same meaning as<actuality>, but even if it’s not actuality, I think that having a <sense of reality> is enough.

I see. So what is required to bring fiction into reality?

I: …… Performing, and having yourself firmly believe in that world. I suppose that’s it. There’s a song called <Paper Moon>, and above the stage, there’d be a moon made out of paper. But if the audience feels that that is the moon, then it is the moon. How should I put this…… I suppose, everyone goes out to see beautiful lies, you know. Whether it’s a movie, or a play.

Ah. Indeed that is true.

I: Isn’t it true that it’s hard to get to see something that only pierces into your core to make it sting to such an extent in reality? I think that people go out to look for that beautiful lie that properly strikes their hearts, you know. And I think that rock is the same in that sense. If I can have people truly appreciate the important things while living in a beautiful lie, I think that this would constitute a great success for me.

I fully understand now. In other words, neither fiction nor lies have any negative connotations.

I: Ah, I’m putting it in an extremely positive light. It’s positive, and I suppose you could also say that it’s very direct. To me, I feel that these are things that are straightforward.

Is such an awareness something that DER ZIBET possessed right from the start?

I: Ah…… I guess it might’ve been subjective? But, it’s true that when DER ZIBET came together, we had that conversation about paper moons, and I suppose that awareness came from somewhere. But, you know, like what I said earlier, to me, this is very natural. But while I was with the band, I spoke to a number of people, and it was about 12 years ago when I started to realise that normal people aren’t like this at all (lol). That’s why, I think I only came to realise that I’m expressing myself to people different than myself around the time of the 3rd album’s release though. Ever since then, it’s always been a battle between actuality and the truth of fiction, you know. In terms of which one I should make more concessions for.

So, it’s how you inflate the things that exist in reality, the ordinary things with your imagination to make it look beautiful. I’d go further to say that you express things as a decadentic fiction. I’ve once again felt that grimness in this time’s lyrics too.

I: Hm, well…… Though I dooon’t do that intentionally, you know (lol).

Is that so? Though, I was first blown away by the lyrics in Metro. Like, to think that there’s a person who can describe the subway as a<steel coffin (鋼鉄の棺桶 / koutetsu no kanoke)>that <writhes from darkness to darkness (闇から闇へとのたうつ / yami kara yami e to notautsu)>!

I: But I’m just writing exactly what I see and what I feel (smiles). To me, this is something that is real, you see.

What do you think is the reason for your words, that describe exactly what you see and feel, tending towards flavours of darkness and eroticism.

I: I wonder why……… I’ve never thought about it. It’s natural to me, you know. Of course, people do often say it to me. “Why does it turn out like that?”, they’d ask. Though I’d always answer, “I wonder why?”. Probably…… It’s as I said earlier when we spoke of summer, I end up seeing the duality of things. Isn’t it the case that, where there is a front, there will be a back? I feel death when it comes to extremely vivacious things, and when death isn’t near to something, I can’t feel the vitality in it. I think that all things have two-sides that tend to conflict each other, but that isn’t the part that you can see on the surface. Instead, it’s the back part that exists to show that surface. I guess I have this habit of looking at that.

That said, this line from the 3rd song, Mr. Bad Trip, <I want to be as I am until my last breath (最期まで俺は俺のままでいたい / saigo made ore wa ore no mama de itai)>, is rather interesting. This doesn’t have a front or a back, and it feels like the words of ISSAY-san’s physical being.

I: Isn’t it? For me, the scariest thing is becoming someone who isn’t me. No longer understanding myself is what I fear the most. Take, for example, Daniel Keye’s Flowers for Algernon*, I can’t bear that person’s work, you know. Isn’t it a story that is entirely about a person who loses himself?

It’s the same with Billy Milligan**, isn’t it.

I: Exactly. I want to trust only my own perception, and that’s the only thing that I can trust, you see. I’m afraid of losing it. I suppose you can say that this is why I wrote what I consider to be the most horrific thing to me.

Um…… She has already passed away, but my grandmother had dementia. In her final days, she only had memories of her childhood, and she kept talking about Manchuria*** during the war. And yet, she seemed to be having fun in some sense of it.

I: Yeah.

So one might say that she lives in fiction too. Broaching such a topic all of a sudden may be difficult, but how does ISSAY-san feel about this?

I: About your grandmother? Hm…… There are 2 ways you can look at it after all. One is that you are in the world where this person is living in, so I think that that’s a very blessed thing. Although when I’m the one in such a state and I look at myself from a third-person’s perspective, I’d be scared. So…… This isn’t something I can say much about, but to an extent, if you were to ask whether I’d be happy or not, I might be. But if I were to look down at myself, it’s scary, you know. I can’t really…… put it properly in words though.

No, no, it’s the same for me. It’s just that, from our earlier conversation about ISSAY-san living in fiction and going all out to sink into that world, isn’t this what you’d consider to be fiction as well, with the way you usually look at yourself?

I: That’s true.…… Now that you’ve mentioned it (lol). But I think I’d want to be like that, you know.

Though among musicians, there are many who say that their one true desire is to go blank on stage.

I: Ah, I have that too, you know (lol). I think that it’s a truly wonderful thing too. However, in that moment, I’d be there, watching over myself while knowing that I’m expressing myself, and I think that if I could still control myself, that’d be even more wonderful. Finally…… I’m finally able to think of things like these. That’s what I’d think of myself. Though in the past, I used to think that just blanking out anyway and going into a state of not knowing anything would be best. Now, I think that it’d be wonderful if I could live in a state of looking down at myself from a third-person’s perspective while controlling my own body, you know. Because as an expressionist, that is more correct.

Correct?

I: Because, if it’s not in control, beauty will be compromised. This is with regards to pantomiming, but when a form is taken, there are specific positions for your hands to bring your form to its most beautiful state, but there are times when you put too much thought into it, thus breaking form, you see. In terms of beauty, this is a mistake.

Ah. I see.

I: Of course, for lives (concerts), it’s better to let out your feelings of confusion, so this is the biggest difference between the works though. That’s why it’s alright for me to have some of the forms collapsing, you see. But even so, there’s a limit to everything (lol). Like the lives from our early days, when I watch them now, I often think that I overdid it too.

What you speak of now isn’t narcissism, but about something like moderation and grace, right?

I: Yeah. And, you know, it’s extremely important to break free, so if you’re not someone who has done that once, you can’t stop. And that’s the reason why those who say “Ah, I’ll stop at this point” right from the start won’t be able to express anything. Really. You’ll understand the necessity for it when you look at yourself from an observer’s point of view as you break free and arrive at a state where your form breaks a little. Because you’ll only have the thought of wanting control after you see yourself overdoing things and pushing too far.

Ah…… This, somehow, makes me feel strongly that these are words that only someone who has done this for 30 years can say.

I: Fufufu. Nah, I’d say that it just so happens that I’ve continued on like this for 30 years. Well, I think that I’m lucky. Very much so. Because there are many who can’t keep at it after all. That isn’t just my own feelings, because there are also reasons pertaining to the physical condition, reasons pertaining to band members. And we’ve got a 10-year long hiatus, but I think, the fact that we can play together as DER ZIBET even now is a very happy, very lucky thing, you know.

Does the difficulty of enduring refer to the chance that this band may never happen again?

I: Hm…… That’s already becoming less and less of an issue after our revival though. Well, but things really were awful during the few years before our hiatus. Things were uptight, and I was at loggerheads with HIKARU too (lol). Both of our mindsets were in conflict with the other’s, and the result of that was us being in agreement that we can’t go on anymore.

And 10 years after that, you became active again. The thing that sparked this off was one of your members being in an accident, right?

I: Yeah. Our bassist HAL got into an accident…… That was a really terrible accident, you know. It was so bad that when I first heard about his condition, I thought, “Ah…… he’s going to die”. But even though they said that he’d be bedridden for the rest of his life, he regained consciousness and mobility, didn’t he? Apparently, it was at that point in time when he decided that he wanted to play in a band. So he decided to phone all the people who he wanted to play with to bring them together, and those who gathered ended up being the members of DER ZIBET (lol).

Hahahaha. What a reunion!

I: I suppose he thought that, to him, the members of DER ZIBET were the best, you know. Though in the beginning we didn’t have any intention to get together again, at all. HAL-kun said that he wanted to do it, so he pulled every trick in the book, you know. But as expected…… when we first jammed together, with HIKARU playing the guitar and me singing, I thought, “Ah, it’s DER ZIBET”. Because I clearly understood creating sounds together with these people was all we needed to do to turn into DER ZIBET. The sense that it would be interesting to be in a band with these people now, at this point in time, has returned, you see.

ISSAY-san didn’t stop your own expressions, and you were active with your own solo work too, but is DER ZIBET something different to you after all?

I: Ah…… Well, I wonder. Right now, it feels like this is my life work to me, you see. The one thing that I’d continue with for the rest of my life is probably this band. After all, when I debuted, it was with this band too, and the thing that I’ve kept at for the longest time is this band as well. There’s definitely love in it after all, in our work. I get the feeling that ultimately, this is something that can’t be done by anyone except for DER ZIBET, you know.

It’s been 30 years now. What do you feel with regards to the length of this time?

I: Well…… Like it didn’t happen^ I suppose. Fufufu. If I were to meet myself from 30 years ago, I’d probably tell him “You’ll still be in DER ZIBET 30 years later”, you know. And to that, I think he’d say, “You’re lying”. Hahahaha!

“Like it didn’t happen”. No matter how you look at it, these words are so typically DER ZIBET.

I: Fuhahahaha. Right?

 

 

 

 

Notes:

* Daniel Keye’s Flowers for Algernon is a science fiction short story that won the Hugo Award for Best Short Story in 1960. The story is told through the perspective of Charlie Gordon, the first human test subject that underwent surgery to increase his intelligence by artificial means. Algernon is the laboratory mouse that had successfully undergone the surgery before Charlie.

** Billy Milligan was an American citizen who was the subject of a highly publicized court case in Ohio in the late 1970s. He was arrested for various crimes, and was then subsequently the first person diagnosed with multiple personality disorder. He was also the first to be acquitted of a major crime for this reason, instead spending a decade in mental hospitals.

*** Manchuria was a puppet state of the Empire of Japan in Northeast China and Inner Mongolia from 1932 until 1945. In 1931, the region was seized by Japan following the Mukden Incident and a pro-Japanese government was installed one year later with Puyi, the last Qing emperor, as the nominal regent and later emperor. The ruling government was then dissolved in 1945 after the surrender of Imperial Japan at the end of World War II.

^The actual statement by him was 嘘みたい, literally, “like a lie”. It doesn’t sound quite natural in its literal form, neither did it have the right nuances, so I went with “like it didn’t happen” instead.

 

 

Translation: Yoshiyuki

 

Related Articles:

[Dec 2015] PHY Vol. 5: ISSAY talks about BUCK-TICK’s Sakurai Atsushi

 

1988.03.21 | SIXTY RECORDS
DER ZIBET

1993.03.24 | SIXTY RECORDS
Historic Flowers

1993.08.21 | SIXTY RECORDS
OFFICIAL? – live anthology –

Lipstick Mirage

 

Lyrics by ISSAY

Music by DER ZIBET

Japanese

 

ふと気がついてみるとそこはまるでパノラマ
時計の針は空をぐにゃぐにゃと泳ぐ
口のはしから落ちた笑い声をなげた
月あかりは銀色  ラメ色の涙

カクテル光線みたいな風が吹きぬける
体はとけおちてゆく  おまえが光り輝く
原色の水しぶきあげながら泳げば
空にはでかいくちびる  俺達にほほえむ

俺といっしょにこのまま月まで泳いで行こう
こんな体を脱ぎ捨てすぐに飛び出せ
バラ色の Black Hall 吸いつくしておくれよ
二人が一つになるまで

口紅蜃気楼 
ドキドキしたいネ
遊びに行こうよ 
口紅蜃気楼

おまえと宇宙かけぬけはじけとんでしまいたい
流れる星を横目に夜を抱きしめ
バラ色の Black Hall 吸いつくしておくれよ
二人が一つになるまで

口紅蜃気楼 
ドキドキしたいネ
遊びに行こうよ 
口紅蜃気楼

Romaji

By: Andy

Futo ki ga tsuite miru to soko wa marude panorama
Tokei no hari wa sora wo gunya gunya to oyogu
Kuchi no hashikara ochita waraigoe wo nageta
Tsuki akari wa giniro  Rame iro no namida

Kakuteru kousen mitai na kaze ga fukinukeru
Karada wa toke ochite yuku  Omae ga hikari kagayaku
Genshoku no mizu shibuki age nagara oyogeba
Sora ni wa dekai kuchibiru  Ore tachi ni hohoemu

Ore to issho ni kono mama tsuki made oyoide yukou
Konna karada wo nugisute sugu ni tobidase
Barairo no Black Hall suitsuku shite okure yo
Futari ga hitotsu ni naru made

Kuchibeni shinkirou 
Dokidoki shitai ne
Asobi ni yukou yo 
Kuchibeni shinkirou

Omae to uchuu kakenuke hajike tonde shimaitai
Nagareru hoshi wo yokome ni yoru wo dakishime
Barairo no Black Hall suitsuku shite okure yo
Futari ga hitotsu ni naru made

Kuchibeni shinkirou 
Dokidoki shitai ne
Asobi ni yukou yo 
Kuchibeni shinkirou

English

By: Yoshiyuki

Suddenly I realise that it looks like a panorama over there
The hands of a clock swim across the sky like they’re bendy
I tossed out my laughter spilling from the tip of my tongue
The light of the moon shines silver  Tears of glitter

A wind like cocktail lights¹ blows past
My body melts and falls away You are shining, dazzling
If you swim with water splashes of primary colours
Massive lips in the sky are smiling at us

Stay like this and swim with me all the way to the moon
Step out of this body and fly out now
Suck this rose-tinted Black Hall dry for me
Until two becomes one

Lipstick mirage
Sure makes your heart pound
Let’s go play
Lipstick mirage

I want to run and burst through the cosmos with you
Embrace the night with falling stars in the corner of my eyes
Suck this rose-tinted Black Hall dry for me
Until two becomes one

Lipstick mirage
Sure makes your heart pound
Let’s go play
Lipstick mirage

 

 

Notes:

¹ The word itself is defined in a dictionary as: A light beam that combines mercury lamps, incandescent lamps, halogen lamps, etc. of different colours and characteristics to produce a lighting effect similar to daylight. Used for nighttime lighting of baseball stadiums, etc.

ISSAY
20,000-character interview

Rockin’ on Japan
February 1994

Interview text by Takako Inoue
Photography by Satoshi Matsuo

 

 

There is no guilt, none at all

Divorce, makeup, homosexuality, expulsion, left wing rallies, confinement……
Orphaned soul ISSAY speaks of his traumatic early life and his aloof spirit for the first time

 

 

 

Der Zibet’s new album “POP MANIA”, which corresponds to the second phase of their evolution, welcomed Okano Hajime as a producer. It is a work that leaves the impression that they’re here to make their marks as they open up to pop. Listening to Der Zibet’s past work cooped up in my room, they have all been rather serious productions, but this album, in comparison, has the glitter, the absurdity, and the merriment of rock packed together in a jumble, making it an unexpectedly contemporary album. Even ISSAY’s vocals come through more distinctly, more dramatically than in their previous works. It is one cool rock album.

However, at the same time, I felt a strong sense of jeopardy when I listened to it. That is because this time, half of the song lyrics were written by external lyricists. Beginning with the lyrics from their single Like a Summer’s Day Typhoon (Natsu no Hi no Taifuun no You ni*), “You trace the edge of your wineglass/So meaningfully, with your manicured nails/Seducing my body/While saying nothing” *, these unfamiliar words that were put together made me wonder, ‘Uh, is ISSAY singing this?’.

To ISSAY, who wanted to become a poet before turning into a rock musician, lyrics are an emotional means of expression. This is not an idea of his, but its instead the form that it naturally took, and it is in such a situation where I felt this strong sense of jeopardy. Though it doesn’t feel like this band shutting themselves away at all, instead, it feels like they’ve decided, “If we’re aggressively doing new things, isn’t it also good for us to become rowdier and go crazy?”. But this direction is somewhat risky. Of course, the album was done up well, and I’m not specifically criticising anyone. It’s not that kind of a specific issue, but it is the state of the Japanese music industry that obligates them, as a product, to appeal to a wider audience that gives me that feeling of risk.

It need not be said that this man, ISSAY, is an exceptionally peculiar artiste who cannot be easily substituted. And it is precisely because of this peculiarity that makes it seem like they are about to be buried by the scene. Der Zibet is in danger!ーーーーーー This time, it happens that I was sparked by issues in the song lyrics to write this, but this is also applicable to the riskiness that I’ve always felt from their history.

Is ISSAY really an eccentric or an oddball who makes others avert their eyes from him? Is he an oddity with a twisted outlook? Is he an alien with a communication barrier? Why don’t the words and voice of this man, who has thrown away all of reality’s trivialities and emanates a free soul, contain any sense of normalcy?

ISSAY said with a heavy tone, “It doesn’t matter what my past was like. Even if I talked about my birth, how I was raised, and all those things that I’ve been burdened with, that has nothing to do with my singing on stage”. The reason why this interview had the go-ahead is that there was a desire to address the scene and the readers.

 

This happened about a week ago, but there was a silly piece of news that caught my eye. It said, “If you take the arrow out of the duck with the arrow (矢鴨**) it’ll just be a regular duck”. This is a topic that has long died down, but for some reason, I felt annoyed upon hearing that cheerful voice. Indeed, it may seem ridiculous to leave it alone with that arrow in it at the pond, and you can’t put it in the zoo either. But that’s none of your business. This is no different from the arrogance of humans who ignored the laws of nature and said, “Save the Japanese crested ibis” instead of letting a species that cannot adapt to reality go extinct. To me, rather than feeling some inexplicable comfort that the arrow was removed, I have more faith in and am more moved by the strength and will to live of that duck which has been flying around and floating around in the water with the arrow still in it.

It is not my intention not to bring attention to the scars of ISSAY’s early life. All I wish to convey is his vitality, that energy of his that makes it impossible for him to resist dashing full speed ahead, and that doing these things do not make him some kind of exotic animal. A declaration of being gay as bright this is probably the first in Japan’s rock scene as well.

 

 

 

An extremely old-fashioned and stern household.
It appeared that he said things like “You have to birth a son or I’ll throw it in the river” to my mother

 

ーーWhat is your earliest memory?

…… Around the time when I was still toddling around, there was a fire that broke out somewhere near my home, and the next day, my father took me by the hand and brought me over to have a look but right then, they were taking the burnt corpses away. That was traumatising. I was so scared that I clung to my father, and he looked at me wondering what’s wrong with me, you could say I got startled (laughs). I suppose seeing something like that will startle anyone……… It’s something that I remember. What kind of a formative experience is that? (laughs). There’s also the time when I messed up my mother’s vanity set.

ーーOoh. Have you had a strong sense of femininity since young?

My father is the descendant of an ancient Kyushu family, you see, so he was an extremely obstinate, masculine man. And, when I was conceived, he would say things like “If it’s not a boy, I’ll get rid of it by throwing it into the river” or “I’ll cull it” to my mother, it seems like she had a tough time. That’s why my mother prayed with all her heart that she would give birth to a boy. Personally, there are times when I think that maybe a girl was meant to be born but through those prayers, a boy was born instead (laughs).

ーーYou’ve been anticipated as “The heir!” since before your birth.

Yup. The first-born son is far more cherished than the second son, and that’s something that they say without batting an eyelid.

ーーDid he have the kind of extravagance to put lots of huuuuge carp streamers***?

Yes, exactly (laughs). The carp streamers and all. Pretty much every festival was grand.

 

 

Anyway, I was afraid of men. I absolutely hated men. Especially adult men

 

ーーWhat were you like as a child?

You know, when I was in kindergarten, I played with the Hakata dolls**** in my house.

ーーHakata dolls!?

The Hakata dolls were put in a glass case in the drawing room, and I’d meet their eyes, all the time. So I talked and played with them. Like if I had my own secrets, I’d write them all down in a piece of paper and put it into that case. I’d be putting all sorts of papers in, and lots of it. But somehow the papers would disappear, y’know. I wonder what happened to them.

ーーHahahaha.

Also, the patrolling officer would often come into our home and have tea. So, that person let me hold his gun. I remember it being terribly heavy. Like, I thought, there’s no way anyone can shoot with something so heavy.

ーーHakata dolls and guns…… That’s kind of symbolic. Was elementary school an extension of that?

No, when I entered elementary school, my parents divorced and we moved houses. So, of course my father was of the mind that he would take me in, and my younger brother was handed over to my mother. But I guess, because he’d have custody of me until I graduate from high school, he felt sorry about it and deposited me at my mother’s. And her having to change her name probably evoked pity too, so he did some things with the family register.

ーーOoh. But from a child’s point of view, wasn’t it quite a shock?

Well, I knew that the relationship between my parents wasn’t good. But I didn’t quite understand the divorce.

ーーSo you didn’t feel like, “happiness has suddenly fallen apart!”.

But, you see, that’s because I hated my father. He was violent, the type of person who says “This is what a man should be like!”, and I detest that, so even if he wasn’t around, I wouldn’t think much of it. Even after the divorce, my father would occasionally come by and see me, right? I hated that too. I’d think, “I wish he didn’t come”. Now that I think about it, I think only that strict, exceedingly masculine father of mine would’ve thought that I was cute. But, like him, I’m short-tempered and have violent mood swings. But I cannot forget running away barefooted in the middle of the night with my mother and my younger brother, us three. That’s why, to me, more then feeling pampered by my father, I felt far more afraid, that fear was immense. Anyway, I was afraid of men. I absolutely hated men. Especially adult men.

ーーI see.

That’s why, I think that this might have become part of my character. That part of me that doesn’t really assert myself against my surroundings. ー When I was in my fourth year of elementary school, I ended up getting taken back to my father’s home but, you see, he came home drunk and I suppose looked pitiful, and y’know, he asked, “You. You really want to live with your mother on that side? I won’t get angry so tell me the truth” and when I answered “yes” I got beaten to death (laughs).

ーーNo matter what you said, you would’ve had to weather a hell of a storm.

Yes, that’s right.

ーーSo, were you mild-mannered in elementary school too?

I wasn’t very good at putting myself out there, you see. I had social anxiety and was painfully shy too. But on the surface, I lived a normal life. I was a class monitor and all. I had no sense of responsibility though (laughs). Ah, I was super irregular at that time, the comments on my semester report would be completely different from one semester to the next. If “too quiet” was the written, then in the next semester, “too noisy” would be written. I’d think “Ah, am I gloomy?” and then go “Oh no!”, and after that, I’d become extremely cheerful, and then I’d be considered as too chirpy in the next report (laughs). I have no moderation, none at all.

ーーBut being the class monitor, that seems like the teacher trusts you quite a bit.

At that time, I did well with adults, didn’t I (laughs). I was worldly-wise, quite so. Ah, but there’s something that really pissed me off. In my second year of elementary school, my teacher said “Please write an essay about your father. I promise I won’t show him”. And my impression of my father at that time was that he was always drinking alcohol, then coming to our home to beat us or my mother, and I hated that, so I wrote a single statement, “I wish he didn’t drink alcohol”. After that, it was read out aloud when my father came for the school visitation. My father was insanely angry. I was terribly beaten up. I even thought that he was going to kill me. Since then, I’ve never trusted teachers.

ーーIn your family, were things peaceful when you lived with your mother and younger brother?

Yup. Since the scary father isn’t around either. Well, even though they were divorced, he would occasionally come and fight with my mother again, that was the only time I felt antagonised but……… Other than that, it was great. At home, I’d play with monster figurines with my younger brother, dig holes in the yard.

ーーHoles, as in pitfalls?

Holes. Pure, simple holes (laughs).

ーーHow so?

Let’s see…… The aim was to have a hole so big and deep that I can bury myself in it. But I was small in size and had no strength so I could only dig down to around the height of my knees, and gradually, bit by bit, it began widening out from the sides. When that happened, from my mother’s point of view, it was just right for throwing out the rubbish in and all so she just let it be (laughs). And when I started digging in a different spot, she’d get angry and say “It’s still too soon” (laughs).

ーーDid you do that on your own?

When friends came over to hang out and said “I wish there’s something fun to do”, I’d say “Well, I’ve got something fun” and have them dig with me (laughs). So, you see, I personally thought that it was fun but halfway through everyone would end up going home. But I’d just keep digging until the very end.

ーーNot for the sake of burying something in it?

Nope, I wanted to go into the hole.

ーーAh. I assume you went into closets too then.

I did go in, I did! When it rained I would stay in the closet the entire time. Even when it wasn’t raining, if I got my allowance and bought snacks, I’d take them with me and go straight into the closet. When my younger brother was around, he’d come in too…… I guess that’s how it was.

ーーHahahaha.

I wasn’t good at playing in groups of three or more people. When a lot of people are around, the amount of information going around is too much for me and I’d start to lose track of things. Isn’t it so that the more people there are, the more difficult it is to find the middle ground? I couldn’t do that (laughs).

 

 

Hanging out with gays was enjoyable.
Because it made me feel like this was a place for freedom

 

ーーSo in your fourth year, you were taken back by your father, right?

Well, there was this one time when my father introduced a woman he brought home by saying “This is your mother”, but I didn’t quite understand what he was saying. I didn’t know about remarriage, and even though I thought, “Aah, what a beautiful person”, there was also a feeling of “But I already have a mother……”. But this new mother also cared for me and she was affectionate as well, in fact, she might have been more fond of me than her actual son. Even now, our relationship is still very good too. That’s why, you see, it’s not that I don’t have a place where I can belong to. It’s just that, gradually, I came to dislike family gatherings and I stopped coming out of my room.

ーーI see. Was there some kind of change that occurred when you entered junior high school?

Because I grew to dislike being at home, I joined the Kendo club. See, I had the thought that samurai are cool (laughs). Like Sakamoto Ryoma and the Shinsengumi, weren’t there a lot of cool people during Bakumatsu*****?

ーーLike “youths who care about the world and revolutionise!”?

Yes, exactly. I thought, “How cool!”. So I joined the Kendo club.

ーーBut isn’t the world of “This is what a man should be like!” exactly what the Kendo club is?

I mean, those kinds of superior and subordinate-like relationships aren’t only found in the Kendo club, are they? I guess that’s why I did things as I did with just a simple “Oh, I see”. Even though I thought “how stupid”, this was all because I wanted to do Kendo. There’s no other way except to bear with it, right? Even if I had to go bald I would’ve been completely fine with it too. Even now I can deal with a shaved head.

ーー(Laughs). Even if you say you can.

It’s fine, I don’t care. It’s something that will grow back again anyway.

ーーI see. So, you said that you’d shut yourself away in your room when you were at home.

Yup, I’d, at most, go around on a bicycle. I just kept reading books in my room. Like manga, sci-fi, mystery novels. Since my father completely forbade all forms of entertainment, even manga wasn’t allowed, so I hid and read. The only time I came out of my room was when it was time to eat.

ーーYou never agonised over it, like “why am I like this”?

I never had any forward-looking thoughts at all. It was all just, “It doesn’t matter”, or “Anyway I’ll have a peace of mind as long as I’m in this room. No one will have any complaints”, those kinds of feelings.

ーーYou never worried about the future, or wondered what will happen.

Yup. I didn’t think about that very much. You see, I was being raised as my father’s heir so I always thought that I’d succeed him. Because I thought that it was without a doubt that it would turn out that way, I always did. I guess my parents did well on educating me about that part (laughs)

ーーYou never even said “Why can’t I read manga!” to him, or rebelled or fought back at all.

Yup. If I did that I would’ve definitely gotten into a lot of trouble (laughs)

ーーSo you simply continued through all of that as an honour student by treating it as a force majeure that came about from your surroundings, and without worrying about it or taking it as your problem.

Exactly. So, for high school I went to a prestigious boarding school. An all-boys school. Because I figured that I could get out of the house through this.

ーーAll for the sake of that? (laughs)

But, you know, it was strict. We were split into classes by grades, like everyone of A class would be in one dormitory. So you’d have the whole class in a dorm. And the rooms are shared between two people, your wake up times in the morning are fixed, furthermore, you’d have to be back by 5:30 p.m. for dinner. Then you’d have to stay in your room and study from 7 to 11 p.m.. You’re not allowed to visit other rooms either.

ーーWould patrols come around?

Yup, they would. No one likes that, right? But when I was at home, I didn’t come out from my room either so it’s the same. Though in a double room, it’s more enjoyable since you’d have each other. Approximately once every two weeks you get to go home but I didn’t like that either so I stayed in the dorm the whole time, having fun on my own. And, you see, there were lots of byways in the dorm. You’ll be able to go out in the afternoons on rest days too. At that time, I had two friends who were bad influences, you see, and on Saturdays, in the middle of the night― the patrols don’t really come around much past 11 p.m. so we’d sneak out of the dorm. We’d go to a gay host bar to drink, and we’d just have alcohol then go back (laughs), every week.

ーーOoh. But why? Because it felt comfortable to be there?

Yup, the gays were interesting people. You know, those people, they’d have to hide that they are gay after all, don’t they? That’s because, in society, you can’t really openly say “I’m gay!”, right? But when they go to this bar, they can finally let themselves out, you see. There were subtle shared feelings between fellow discriminated persons too, and those people were very liberated in there. Normally they’d speak with “Well I……”^, and when they get calls from their offices or something, they’d also speak with “Ouh, it’s me!”^ but when that ends, they’d say, “Ah, that was tiring♡” (laughs). It made me think, “Ah, this place is where these people can feel most at ease”. I, too, felt that this was an enjoyable place. Because we were high school students, they wouldn’t get angry with us either, you see, since no one subscribes to common beliefs or generalisations.

ーーWas that because there was interest as well? Or was it a sympathy of not having somewhere to belong to? Or was it because you also had a feeling that perhaps you were gay as well when you were there?

Well, whichever it was. Or rather, there was all of that. At the start I spoke about it out of mere curiosity though, like “Whoa~, this is interesting!”. And when I had nothing to do, there was a park butー That place was famous for being a place where gays cruised for sex, and if I went there to space out, I would definitely be approached by people around five times (laughs), so I hung out with them. If I follow along too much, they’d force for sex and look at me with a scary look in their eyes so I didn’t really go along though.

ーーSo in your high school days, you experienced the nightlife with alcohol, cigarettesー

Yup. So it was also that time when I first slept with a man.

ーーEh? Is that so?

Yup.

ーーCan I pen this?

Sure. Anyway, it’s the truth. Now, if you ask me, I don’t think it makes any difference to my inner self.

ーーOoh. So have you dated men before as well?

Yup. It’s like, I don’t really have any resistance against such things.

ーーSo in your own consciousness, it’s not something that’s particularly special.

Yup. Even with regards to the sexual partー When it comes to sex, I don’t have anything against it either.

ーーI wonder where you picked up that free-spirited way of being.

Though, you know, I don’t really know about that ‘free’ part. It’s more like just a hit-or-miss thing though (laughs)

ーーBut when you went to that host bar for the first time, there was a shared sympathy between victims, like “This is a place where I can be free”, as well, right?

Yup, it might have been that. Well, that’s because I’m a lump of aggrieved feelings, aren’t I (laughs)

ーーRight? And with the added “I’m gay too”, didn’t that just add to the aggrieved feelings even more?

But, you see, I don’t have a single impression that I did anything bad or anything like that. There is no guilt.

ーーYes. But that lack of discomfort, it’s wonderful yet unusual, isn’t it?

But haven’t I liked them before? Males. Now that I think about it, I believe that the thought of “I like that senior” that I had when I was in junior high was definitely love. I admired him. It was a very strong admiration. Be it because he was cool, or because I wanted to become like him. A regular boy wouldn’t think of that as love, would they?

ーーIs it your nature that stands apart after all?

Hmm, it might be that.. But, also because the sex feels good.

ーーAh, really.

But, you see, I don’t really think very deeply about sex. As long as it feels good, its good. Maybe that’s because my physical body is a male’s (laughs). It might be different if I was a woman though. I’ve never been a woman so I don’t know about that though.

ーーI see.

Though I was surprised during my first kiss. But I didn’t like it, so I didn’t do anything more than that. Ah, but my first kiss was with a girl.

ーーAh, no, I’m not asking about your tendencies, it doesn’t matter.

In the first place, I don’t have much feelings about being male or female, that’s definitely where I stand. That’s why I hate the “male” “female” categorisations. You see, to me, gender is not something that has an ideal. That’s why, back then, I think I was even more big-headed with even more radical ideas than I am now. And that’s why, in my mind, I don’t have a gender.

ーーI can really understand that a lot. But I dare say that there aren’t many people who put this in practice, are there?

When I frivolously put on makeup in high school and went walking around, there’d be big brawny guys who would come up to my and say, “Hey fucker! I’m gonna kiss ya!”, like they’re trying to harass me. And when they’d grab onto me like they’re going to kiss me, I’d stay still, stare, and say “Sure, go ahead”. Then they’d stop. Why didn’t they do it, if they wanted to it would be fine anyway. So, you see, I don’t really think much of these things.

ーーYou can’t protect yourself, can you?

See, that’s the question, what are you protecting? That, to me, is up to you to imagine, up to you to say what you think, up to you to express. It’s all up to you.

 

 

I went for gym class with foundation on, eyebrows drawn, and nails painted.
It seems like they thought that I had a mental problem (laughs)

 

ーーI see. So earlier on, you said that even now, that part of your inner self is gay, right? What is that?

I don’t know. I can’t really explain it very well. For example, my love for Tatsuya (partner in Hamlet Machine, ISSAY’s other project. Originally vocalist of ALLNUDE) is somewhat similar to homosexuality. However I don’t have the thought of wanting to sleep with Tatsuya, though there might be something close to that. Prior to this, we went to watch a movie and we even discussed things like “if you get AIDS I’ll take care of you”^^ (laughs). Though I think people would normally consider this as being close friends.

ーーTo ISSAY, be it admiration, a sense of security, or adoration, it’s all the same love, isn’t it?

Yup. I can’t differentiate that well. And I don’t have the slightest intention to differentiate if it is love or friendship. What an excuse! I’ll say this clearly. There’s a difference in relation to whether I want to have sex with them or not. But that too doesn’t have anything to do with love or friendship, does it? Not particularly!

ーーSo, you’re saying that there has always been this homosexuality in you.

I don’t know, I haven’t had sex with men recently (laughs). But at the same time, there might be more feelings of guilt when having sex with a woman. Maybe women are scary. …… That’s why I like men, for sure. Like that movie I mentioned earlier, at the start, the gays were swimming in the nude, having fun and being all energetic. But when things steadily grew to be beyond help, one of the leads became worn out and was in ruins from AIDS and he said, “I am in pain. I don’t want to live”. My tears just rolled down (laughs). Those are a man’s words, aren’t they? If it was a woman, I think she’d say “Live for me”.

ーーI see. So even the gay men who you met back then, they weren’t the “adult men” who you hated, but were instead kind and strong people.

You see, I suppose they made me feel safe. They were somehow appropriately effeminate people who got lonely easily, and everyone had exceptionally adorable characteristics too. Like dropping their chopsticks in such an odd manner that its hilarious and things like that. It’s somewhat like being free from worldliness, you see. I really loved it.

ーーUntil then, have you ever thought that your looks weren’t masculine?

You see, I’ve always thought of myself as a regular guy. Sometime before my junior high graduation period, I fought with a friend and he called me something like “queer bastard!” but I had no idea what it meant at all. Then when I was in high school, a stranger said it to me, and I realised that I appear different to others no matter what, so I thought “Well, I guess applying makeup will be better anyway” (laughs). I figured that if I did that, the creeps won’t speak to me.

ーーThat was sudden too, right?

It’s easy to see that I’m different from others, right? I think that this concept itself is liberating too. Of course, when I walk on the streets with makeup on, I’d get heckled by loud voices though. It’s no big deal. I thought those guys were stupid. Like, “why the hell do these stupid people keep barging in and stomping all over other people’s business?” (laughs)

ーーI get the feeling that you’ve put yourself on the line against the world, against adults.

Yup, probably. These days, there’s the opinion that “putting on some kind of makeup makes you cooler”, but back then, the culture of men applying makeup did not exist. That’s because this was slightly before Julie^^^ started wearing makeup. And that’s why, even though my teachers looked at me and thought “How strange”, no one could say it (laughs). I applied foundation, put on eyeliner, drew my brows, applied mascara, and also put on lipstick and painted my nails, so I think that should be obvious enough, but they didn’t say anything to me. Like, after gym class, the teacher apparently told my closest friend “That guy sure is strange”. Then, my friend said, “Yup, he’s strange” and that was the end of it. It seems like they thought that I had a mental issue (laughs). Like they can’t directly tell me that I’m weird or it’ll hurt my feelings or something.

ーー(Laughs) It’s like some unfathomable world unfolded in that cramped dormitory……

There was something remarkable there.

 

 

To say that having friends is a lonely thing, that’s truly lonely!

 

ーーIt’s like the kind of foreign gymnasium that appears in a Shojo manga………… So, was it around this time that you started listening to music?

Yup, it’s in that period. Until then, I would buy and listen to film music like “Melody”^^^^ though. Back then, KISS and Aerosmith were popular but it was shrill and noisy to me, I couldn’t deal with it . You see, I couldn’t stand those kinds of sounds. Then, I think it was David Bowie’s “Station to Station” that I heardー That doesn’t sound like rock at all, does it? I thought, “Ah, so rock has such music too” and it was after that that I could listen with a peace of mind.

ーーWhen you first listened to rock, how did it influence you?

I became comfortable with enjoying myself alone in my room. Like, it doesn’t really matter to me whether or not I’m with anyone. But this isn’t because someone told me this or anything. I just grew to become like this after listening to that. Well even now, thinking about it, I still feel that music is an amazing force after all. …… It was also around that time when I started writing poetry too.

ーーWhat kind of poetry did you write?

The poetry that I wrote back then, well, most of it was uplifting. I loved Tanikawa Shuntaro^^^^^. But it’s really no big deal.

ーーI see.

But because that was all I did, I started to stand out in the dormitory. So, then, there was a little something……… It’s kind of pathetic so I don’t really want to talk about it, but it’s not that big a deal though. There was something that happened in the dormitory that got everyone overly excited, and one of them got caught by the teachers and spilled the beans. So normally, the ironclad rule is that things just stop there, but that guy, he probably thought he was being cute or something. He said “That senior forced me to go”, and he gave them my name. I don’t remember whether I invited him to go or not. Then, I was next to be called, so I said, “If that’s what he said, then that’s fine”. ‘That’, as in, expulsion. But, you see, after investigations, they found that half the dormitory was involved. And there was no way they’d expel more than half the dormitory, would they? So, I was made out to be the mastermind, like they decided that it would be enough to punish just this one guy, me. So either expulsion or a school transfer. I was asked to choose between the two. But, you see, I didn’t want to live in such a place any more, did I? And it just so happened that at that time, I was having problems with my family again, soー I was also becoming mentally unstable myself, you see, like “Well, that’s just perfect”. I didn’t want to be at home, neither did I want to be in school any more. I thought, fine, whatever, I’ll give up, and so I did. Instead of the bastard who did this, it was I who got bitterly hurt.

ーーAnd that’s because it was not only the adults but even your friend who sabotaged you, right.

Yup. If the person who was caught wasn’t a friend or anything, if he was just some guy who decided to tag along on his own, then it would be fine since he never was someone I trusted since the start. But everyone agreed to this. That’s the most shocking part, isn’t it? I thought, “Well, fine! I don’t want to be around these kinds anymore”. My father kept going on about it though. He’d say, “You may think that you were protecting your friends, but it was instead your friends who cast you away”. Yes, yes, that’s right. And he’d also say, “How irresponsible, stop doing those ridiculous things”. He said those words until the day he died.

ーーIs that with regards to your way of life?

Yup. He’d tell me to stop it because I looked like a fool to him. But I know. Because that person would despair over this, saying things like “What a corrupt world”, a man who attempted suicide in his youth (laughs)

ーーThat’s a fitting image, isn’t it (laughs).

But by surviving, that person would have thrown that away, right? Surely? That’s why, at that time, I kept thinking, “Ah, these people aren’t what you call friends!”. Friends are people who will never do that which should not be done to their companions. Those who do such things aren’t friends. Only friends will have a long list of things that they know they should never do to their fellow friends. And, you see, that’s why, to say that having friends is a lonely thing, that’s truly lonely!

ーーSo you were able to see this even more clearly for the first time after this incident happened.

More like, I became even more aware of something that I’ve always felt from the beginning. That’s why, you see, listening to rock, talking to gaysー The more such empathetic incidents occur, the more I grew to feel like there must be some kind of mistake for my being in my family, in this school, all of it. Because I started wondering to myself, “Why am I here?”, despite that I enjoy reading these kinds of books and writing these kinds of poetry, you know? I got the feeling that if I didn’t do what I did, I would’ve broken.

ーーSo, you chose to drop out of your own accord.

My parents were extremely angry. Since it was an embarrassment too. And because of my father’s reputation, they said that it wouldn’t be good if I stayed in Shizuoka, so I went to Tokyo. Though it was more like I was discretely kicked out. So I delivered newspapers in Yotsuya (a neighbourhood in Shinjuku, Tokyo).

ーーYou’re kidding me!?

It’s true. I delivered newspapers while wearing makeup (laughs). The Self-Defence Forces were there too, weren’t they? So in the mornings or something, the entrance guards would be standing there, you see, and it seemed cold, so when I’d give it to them like, “Here, take this”, they’d be all grateful, like “Thank you. When I’m in the country……”, etcetera, etcetera (laughs)

ーーWere you wearing makeup at that time too?

Yup. But it was no longer that heavy though, usually. Though, life in Yotsuya was terrible. The only space I had was a room the size of two and a half tatami mats with a bed in it. But I had a tiny radio cassette player anyway. I listened to tapes using that.

ーーBut it was better for your mental state.

Yup. You see, in the morning I’d deliver newspapers, then after that I can take a nap or something, then wake up in the evening and go out delivering again. After that I can do whatever I want too. I can choose to drink alcohol, or smoke, or read a book. I can listen to music too. And at that time, there was a guy among my acquaintances who was part of a left-wing group, and I went to meetings and stuff by invitations from that guy though. It just so happens that at that time, it was being held at places like Sanrizuka. But when I asked about it, it seemed to me that these guys weren’t all that big a deal.

ーーDid you take part in demonstrations too?

Nope, before that, my father caught word of it and he brought me back again, I had quite a hard time (laughs)

ーーOh no~. Not again……

It’s true that no matter where I go, I’m a failure though, aren’t I (laughs). So after I was brought back, I was in confinement. Meaning that I didn’t take a single step out of my room, neither did I step out of the house. Though occasionally, when there’s no one around, I’d go to the beach or something.

ーーSince then, you began writing all sorts of things in your room, right?

For three months, all I did was read books……… write in my notebook. Be it poetry or prose. I simply kept writing out every single thing in my mind, like, I don’t like this, or I like that, and what not. You know, as I did that, a lot of things gradually became clear to me, a lot of things came to light. Maybe other people who can confidently say what they are started out this way too.

ーーWas that the original form of the worldview that you sing of now?

Yup. I felt that I can’t live if I don’t protect this, so I decided that I wanted to live like how I felt. I think it was at that time when the original form of ‘Matsu Uta’ came about.

 

 

I’ve always been looking for a place where my soul can exist as it is,
with no relation to age, or sex, or birthplace

 

ーーI see. So how did your confinement come to an end?

After about three months passed, I got the feeling that my mental state might be in trouble. When we’re talking like this, I can answer you with “Yes”, right? Or I could say “No” or “I don’t think so”. I got into a state where there was none of that at all. I wouldn’t make a single sound, and I would just keep writing. I would fill up ten to twenty full pages of words in a day. As I did that, the characters would gradually, steadily, grow larger and larger. Coherence and context was lost too. I thought, “This is bad”. With all of that……… It’s somewhat like spewing out curses all over the place (laughs). I thought, “This doesn’t seem good……”. I knew that I wasn’t making sense any more and I figured, “This is bad!”. I wanted to talk to people in my age group. So, that turned into a huge fight though. My father told me to repeat to him myself that I wanted to go to high school, but it was obvious, and he could see it, so I would never say it. So it became a battle of endurance, to see who would give in first, and then we got into a fight, I thought he was going to kill me (laughs)

ーーThat’s no laughing matter.

So I went for one more year of school. At that time, I barely spoke to anyone in my class because I no longer put my trust in friends, you see. Hey, you know those committee chairman types, there are lots of those, aren’t there? Those that say things like, “If there’s anything you need help with, do ask me”. I would say to them, “Shut up, you idiot”. It’s not because I’ve become a cynic, but it’s because these guys who approach you all smiles are the first ones to turn around and stab you in the back. I’d say things like “Shut up, I’ll ask if I need anything so beat it” (laughs) Something like that.

ーーWas it during those days when you became the student council president?

Yup, after that.

ーーWhy did you become the student council president there? It’s strange (laughs).

Vice president. Well, you see…… It was decided that if any problems arose this time around, I’d be expelled. So I figured, if I’m at least in that kind of a position then I’d be fine, regardless. Hahahaha. Because that was the last chance that I had. Since that time, I wanted to express myself like, I don’t know which, but either a writer or a poet. And, time is needed for that, isn’t it? So for the sake of a perfect moratorium, I thought “If I did this, then it should be difficult for me to get expelled” (laughs)

ーーSo, was this long before you thought of making rock music?

Sometime before I graduated from high school, I was writing poetry when I began to think that I’m not getting anywhere doing something like this. So, at that time, I was listening to T-REX when I became convinced that “Ah, this might be something that I can do”. Then I gathered almost all my musician friends. Right before we went into the studio, I suddenly hummed a tune and said, “This is the melody that I want to sing”, then the guitarist briefly played it. Chords were added and memorised. And so we did an original song the first time we went into the studio. It made me feel like I’m a such genius.

ーーWithout having ever made music before?

Yup. Even now, that’s how I write songs. I come up with them by humming (laughs)ー Well, I have zero analytical abilities, don’t I, and that turned out to be fortunate (laughs). But we debuted before graduating from university so that was unusually early.

ーーYou’ve never thought of playing instruments?

I’ve never even considered it. I thought the one who used his voice was the greatest!

ーーHahahahaha. So when you went to university, you began to properly start performing lives.

Though I didn’t even know that live houses were a thing. I told them that I heard that such a thing existed, and the bassist went looking for it, then he came back and said, “Anyway, let’s give it a go”. So, you know, until then, I’ve always been nothing more than an eccentric, right? I wasn’t popular with the girls either.

ーーWhat, really?

But isn’t that how it is?! With using makeup, talking about incomprehensible things on my own, being highly conscious of only myself, having no trust in anyone at all. “He’s creepy, that guy”, that’s what people used to say of me. But when I performed at lives, other people started to say that I was cool, and I was soo happy! I thought, as long as I’m here, I’m cool. Like, “Ah, I’ve finally found it”.

ーー……… That took a long while, didn’t it?

Yup. Hahahahaha. It was there where I first came to understand the magic of being able to be myself no matter what I sing. Regardless of my age, of whether I’m male or female, of my originating from Shizuoka, of whether I’m a student or not. I’ve been looking for a place like this that has none of those societal burdens. I didn’t want to be male or female. I didn’t want to be called a student, neither did I want to be called a working adult. It doesn’t matter if you’re proud of having lived a long life, neither does it matter if you’re proud of being young, age has nothing to do with this, does it? This is how I’ve always felt, you see.

ーーYou hit your head against this and that, here and there, all to find a place where you can live as your soul is. And it was then that you found a place where you can openly live as yourself.

Yup. But in the beginning, I was scared though. I’d get drunk, gulping down alcohol, and every time we were going to have a live, I’d definitely empty a pocket bottle of whisky, that’s how scared I was. Even now, when a live is about to start, I’d still get scared. But, you see, that’s the only place where my existence is excuseable. It just happens that this is the only place where the soul in this physical body can be itself. This one and only existence unlike any other.ー I think that’s definitely what I am, ever since I was a child. I’m not going through life as the son of that father. I started using the name ISSAY ever since I started writing poetry in high school butー I think that I changed the moment I gave myself the name ISSAY. I turned in to an existence of nothing, of zero.

 

 

 

 

 

Notes:

* Translated title and lyrics from This is NOT Greatest Site

** This references an incident in 1993 when a Northern Pintail duck was found at Tokyo’s Shakujii River with a crossbow arrow stuck in it. Read more here (Japanese only, unfortunately)

*** Carp streamers are typically put up to celebrate Children’s Day in Japan, which was traditionally an exclusively male celebration. This, however, no longer applies in present day.

**** Hakata dolls are traditional Japanese clay dolls that originated from Fukuoka. Read more here

***** Bakumatsu refers to the end of the Edo period when the Shinsengumi existed.

^ In this portion, it should be noted that there is reference to the different forms of “I” that can be found in the Japanese language. 俺 (ore), which has a strong masculine implication, was used in these sentences. Read more about the different nuances here

^^ It might be interesting to note the literal translation of this statement.
アイズになったら俺がオムツ換えてやるよ = If you get AIDS I’ll change your diaper for you

^^^ Julie as in Sawada Kenji, who was nicknamed Julie for his love of Julie Andrews. It was in the 1970s when he started wearing makeup. He was also known as “Japan’s David Bowie”. Read more about him here

^^^^ 小さな恋のメロディ is the Japanese title of the British movie Melody, also known as S.W.A.L.K.

^^^^^ Tanikawa Shuntaro is a famous Japanese poet who is highly regarded in Japan. Read more about him here

 

 

 

Translation: Yoshiyuki
Scans: morgianasama on LJ

ISSAY’s World

Fool’s mate #140
June 1993

Interview text by Yumi ishikawa
Photography by Yohsuke Komatsu

 

 

Welcome To The World of Lizard Pleasures

ISSAY’s sense of pleasure and inner universe seen in a variety of things like earrings, brooches, masks, Gitanes, Jim Morrison, and more.

 

 

 

◆Lizard accessories (piercings, cufflinks, necklace, brooch, ring, lighter, socks, etc.)

ISSAY(I): When I wrote the song Psycho Lizard, I realised that I like lizards. With no relation to Jim Morrison¹ at all, lizards are sexy and they’ve got the power to even survive in the desert. And that’s why to me, they’re a symbol of vitality and a sex symbol too. So, there are strange lizards depending on the type that they are, right? So, you know, in the desert, there are lizards that walk with their right front leg and left hind leg up. They’ve got that sort of comical side to them too. And, they’re easily hated (smiles), these creatures. There was a time when agnès b² released a lizard series, right? So, it was thanks to agnès that I could amass my collection easily.

 

◆Protection stones

I: So, this, well, one day, my friend gave me an agate, you see, and while I held on to it, during that period, these things were trendy, weren’t they? I had no idea, but somehow, a number of people were giving me stones, so I ended up collecting a variety of them and I believe you can’t treat them badly, so I always put them in my left inner pocket (near the heart). But the agate I received, I was told that it was for liver health, and it’s in my pocket every day, though (smiles). It would be great if [the stone] would shoulder this for me like Dorian Gray³, but I think I’d hate it if [the stone] shows how it changes over time (smiles). I don’t know what [this one] is called, but it appears that gold-coloured stones are tied to monetary fortunes, if I end up breaking it (smiles) I’ll never be rich.

I heard that amethysts are supposed to promote mental stability, but I suppose I must have looked very unstable to the one who gave it to me (smiles). The tiger’s eye? This one’s to ward off bad things. The turquoise, well, I hate airplanes, right, and there were a number of times during our tours when I’ve had no choice but to fly and when I made a huge fuss over it, like, “No way, no way,” they said, “This is a protective charm, so [take it],” [and gave this to me].

But I really, really hate flying. I hate the fact that there’s nothing under my feet. I just can’t deal with things where you can expect yourself to fall, you know? I can’t deal with elevators in tall buildings too. And somehow I’d get anemic on Flying Pirates⁴ (smiles). I love crystals, but I hate that if I put them in this leather pouch and bring them out, they’d hit against each other and get scratched, you know? That’s why I don’t carry them around.

 

◆Leather

I: Leather goods are sexy, aren’t they? The belt I’m wearing now is a Jim Morrison design that I’ve been looking for since a while ago and a friend found it for me, you see. So, I asked how much it was, and found out that it was a price that was far beyond what I could afford. Then, just as I was thinking, “How dare you shitty, greedy, extortionist!”, 20 something people came together to buy it for my birthday last year. That’s why I decided that I’m definitely going to take good care of this one, and I’ve already declared that I’d get leather pants specially made to wear with this, so there’s no detaching this. This is already as good as my patron saint. Furthermore, this is something that tens of people bought for me, so it weighs on my hips (smiles). Maybe I should write everyone’s names on the back of the belt (smiles).

 

◆Mask

I: Now, there’s a person who’s in the pantomime field who’s making [masks] like these, and they’re someone who has even held a solo exhibition. I don’t know what they were thinking but a long time ago, that person gave [them] to me for some reason. Well, I did like masks and I did use them on stage during Der Zibet’s early days too. Masks are, well, used to easily convey another personality. The one I’m holding in my hand (in the picture) is the third generation. The one that’s taken with [the] Jim Morrison (poster) is the second generation. The very first I intended to display it at home, but the moment I got it, I knew I had no reason to not use it on stage. Recently, SEISHIRO of Strawberry Fields⁵ said he wanted to use a mask and he asked if I could lend one to him, so I let him take the first generation mask.

 

◆Pierrot

I: I thought of bringing pierrot-themed items along too, but [I didn’t] because there were just too many. Pierrots, you know, they’ve got that sadness, and that mischief⁶? I love it. Usually, they’d be the ones making funny faces at the audience, right? They’d act like buffoons and joke around, and once the audience laughs, it becomes the audience who are the fools; I really love that sense about them. Plus, there’s something romantic⁷ about it too. I’ve always liked pierrots since I was a child, you see.

 

◆Pantomime

I: I started pantomiming even earlier than Der Zibet. I think it was around the same time as when I started [my first] rock band. We just happened to bump into each other at a certain place, you know, me and Sensei (Mochizuki Akira / 望月章). When he asked me then whether I’d perform in a mime show, I said I’ve never done anything like miming, and he said I’ll only have you do what you can, so just sat [on stage] and remained there.

In terms of special training… there are basic exercises for fundamental motor movement. Miming is movement while thinking of each joint in the body as separate parts, right? So, we’d move our head, neck, chest, stomach, hips in all directions, dropping down and twisting; we’d do all of that. Also, standing straight was something that I couldn’t do that at first for half a year. I think standing straight is the most difficult thing to do. It’s probably the most basic thing to stand up straight on stage and let your voice travel straight ahead, but after living long enough, you’d develop certain walking habits and vocal quirks, right? We have to revert all that to being “brand new” once.

And, erasing your presence. To appear out of thin air. I still can’t do that. Because when I decide to make my presence disappear, the intention to disappear will be there. You have to strongly believe in what you want to show people, otherwise it won’t work out. If [what I want to show is ] wall, you’d know that it’s a wall if I hit (moves his palm up and down in front of himself) like this, right? But as to what kind of wall it is… Whether it’s concrete or glass, if I don’t know which it is, I won’t be able to show that to the audience.

Many of my current Sensei’s pantomimes have a storyline, but rather than following the story as a whole, it’s more important in his works that the audience can feel what they see in each moment. I think even among Japan’s pantomimers, he’s considered to be one-of-a-kind. Some people say that what he does is closer to butoh⁸ or ballet. Maybe he’s closer to Maurice Béjart⁹ or something. In the past, I’ve once invited Mochizuki Sensei to perform at one of my live shows with Morioka Ken¹⁰ on keyboards. I asked him to perform a scene called Berlin from a part of one of Sensei’s works.

I think Sensei’s left a very big influence on me. Because I think he’s probably the one person who influenced me the most. That’s why if I performed in one of his works, I’d write poems or something too. Whenever I perform in his productions, each time I’d feel, “Ahh, I’m alive.” I wonder how many times I’ve lived now.

 

◆Jim Morrison fabric poster

I: So this, when I went to Nagoya while on tour, I was going for drinks with the event organiser and he said that he knew a fun place so he took me there, and it turned out that the establishment used to be something like a rock cafe. While drinking and commenting, “What a nice place,” I looked around and noticed Jim Morrison stuck to the ceiling. After I went crazy over it, I was told that this place was going to be permanently shuttered next week. So, [when we were leaving,] I went out and the event organiser said, “Wait a moment,” and [when he came back,] he got [the poster] for me. That’s why I said I’ll definitely cherish this, and I hung it up diagonally in front, in the area I’d see when I open the door to my home.

The Doors, well, when I was a high school student, they had their revival hit in Apocalypse Now¹¹. I bought it after I heard it on the radio. So, I’m the sort of person who doesn’t get special feelings for artists and all that. I’d like the music, the voice, the lyrics. I’d simply like it without feeling attached [to the person or band], you know? But some years before that, The Doors released a video for Live at the Hollywood Bowl, right? And watching it, that was the first time that I found myself thinking, “This is amazing.” And since then…

I like the Door’s early days, up until their third album, though. But I love all the songs on their first album. The music they produced up until then felt like the very midst of adolescence, that’s how it felt to me. Maybe it never really had anything to do with adolescence or anything, but that’s just what I understood from the lyrics that he wrote, you see. I suppose The End, too, relates to bitterness in that sense or something. And even though [their music] is all low and rumbly, it’s so crystal clear, isn’t it? I liked that sense of clarity. And even though he’s so often considered synonymous to rock music itself, I’ve never once thought of him as a rocker. Because he really sings as if he’s reciting a poem. And his brilliance with how he would never be hitting out at people no matter how much he shouted! Maybe you could say I’m a worshipper¹², but I like him too as a vocalist myself. He’s one of my top three favourite musicians. 1st and 2nd are Marc Bolan¹³ and Morrison. Following them are David Bowie¹⁴ and Iggy Pop¹⁵ and Lou Reed¹⁶ fighting for 3rd.

 

◆Gitanes

I: I forced myself to smoke it when I was in high school because I thought the packaging was cool. And once I got used to it, all other cigarettes smelt bad to me so I couldn’t smoke anything else, you see. These are the cigarettes that the French working class smoke, aren;t they? But that’s why I call them the highlight of France, though (smiles). But, you know, Gitanes Light is unacceptable. I will never recognise those as Gitanes (smiles).

 

◆Art

I: I don’t know much about it but I like Chagall¹⁷. [His works] are very close to the dream world I see. And there are also periods when I alternate between liking Klimt¹⁸ and Egon Schiele¹⁹, too.

 

◆Poets

I: From Japan, what I liked was Tanikawa Shuntaro-san’s²⁰ early works. And once a whole, I read stuff like Ranpo²¹, and Prévert²². I came to love poems rather early on. You know, I wanted to become a poet when I was in high school. In terms of novels, I liked Mishima Yukio²³ and Akae Baku²⁴. Akae’s ability to gather information when he writes about one thing is simply astounding, isn’t it? Because of that, his works have a fragrance to them, don’t they? I hated Dazai²⁵ (smiles). I hate those kinds of works which give affirmation to the mentally weak (smiles).

 

 

 

 

 

Notes:

¹ Jim Morrison was an American singer, songwriter and poet, who served as the lead vocalist of the rock band The Doors. With regards to the “lizard” being related to Jim Morrison, he gave himself numerous titles, King Bee, Crawling King Snake, Little Red Rooster, etc. But none other was more elevated and revered by Morrison than ‘the Lizard King’ of which he dedicated an entire performance piece titled Celebration of the Lizard King which included spoken (poetry) and sung lyrics, story-telling and musical sections (Goldstein, 1968) in which Morrison proclaimed himself as ‘the Lizard King’.

² A French brand by the French designer of the same name. agnès b. started designing menswear in 1981 after observing men appropriate clothes designed for women. She opened her first international store on Prince Street in New York’s SoHo district in 1983.

³ In reference to The Picture of Dorian Gray, a Gothic and philosophical novel by Oscar Wilde, first published complete in the July 1890 issue of Lippincott’s Monthly Magazine. The Picture of Dorian Gray is the only novel written by Wilde where the main character, Dorian Gray is the subject of a full-length portrait in oil by Basil Hallward, an artist impressed and infatuated by Dorian’s beauty. When he comes to realise that his beauty will fade, Dorian expresses the desire to sell his soul, to ensure that the picture, rather than he, will age and fade. The wish is granted, and Dorian pursues a libertine life of varied amoral experiences while staying young and beautiful; all the while, his portrait ages and records every sin.

⁴ The pirate ship ride at theme parks.

⁵ A Japanese rock band which was formed in 1989 and was active until 1993. Members were DIZZY (ex. D’ERLANGER) on vocals, LEZYNA (ex. JUSTY-NASTY) on guitar, SEISHIRO on bass, and SHU-KEN on drums. SEISHIRO would later go on to play for ROUAGE, while SHU-KEN would join FiX, tezya’s band.
(tezya’s first band was with Sugizo and Shinya of Luna Sea.)

⁶ I thought it’s interesting that the word 悪さ (warusa, literally, “badness”) which he used here has the secondary interpretation of “inferiority”.

⁷ I am inclined to believe that he is referring to romanticism here; the literary, artistic, and philosophical movement originating in the 18th century which was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical.

⁸ Butoh is a form of Japanese dance theatre that encompasses a diverse range of activities, techniques and motivations for dance, performance, or movement. Following World War II, butoh arose in 1959 through collaborations between its two key founders Hijikata Tatsumi and Ohno Kazuo. Today, butoh encompasses a range of styles, from the grotesque to the austere, and from the erotic to the comic. It is frequently regarded as surreal and androgynous, and focuses on primal expressions of the human condition rather than physical beauty.

⁹ Maurice Béjart was a French-born dancer, choreographer, and opera director known for combining classic ballet and modern dance with jazz, acrobatics, and musique concrète.

¹⁰ Ken Morioka was a Japanese musician, keyboardist, composer, and music producer. In addition to being a member of influential synthpop group Soft Ballet, he worked with numerous other musicians such as Kaya, Buck-Tick, and ZIZ. He was also in the bands minus(-) and Ka.f.ka.

¹¹ Apocalypse Now is a 1979 American epic war film directed, produced and co-written by Francis Ford Coppola. It’s Japanese title is 地獄の黙示録 (Jigoku no Mokushiroku). The film follows a river journey from South Vietnam into Cambodia undertaken by Captain Benjamin L. Willard (Sheen), who is on a secret mission to assassinate Colonel Kurtz (Brando), a renegade Army Special Forces officer accused of murder and who is presumed insane.
The movie opens with The End, a song by The Doors.

¹² The phrase he used here was 巫女さん状態 (miko-san joutai), literally, “shrine maiden state”. I couldn’t find reference to this phrase so the “worshipper” translation is basically an inference for what the phrase possibly means.

¹³ Marc Bolan was an English singer, songwriter, musician, record producer, and poet. He was the lead singer of the band T. Rex and was one of the pioneers of the glam rock movement of the 1970s.

¹⁴ David Bowie was an English singer-songwriter and actor. Known for dramatic musical transformations, including his character Ziggy Stardust, he was a leading figure in the music industry and is regarded as one of the most influential musicians of the 20th century.

¹⁵ Iggy Pop is an American singer, songwriter, musician, and record producer. Designated the “Godfather of Punk”, he was the vocalist and lyricist of influential proto-punk band the Stooges, who were formed in 1967 and have disbanded and reunited multiple times since.

¹⁶ Lou Reed was an American musician, singer, songwriter and poet. He was the guitarist, singer and principal songwriter for the rock band the Velvet Underground and had a solo career that spanned five decades.

¹⁷ Marc Chagall was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramic tapestries and fine art prints.

¹⁸ Gustav Klimt was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objet d’art. Klimt’s primary subject was the female body, and his works are marked by a frank eroticism.

¹⁹ Egon Schiele was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter of the early 20th century. His work is noted for its intensity and its raw sexuality, and the many self-portraits the artist produced, including nude self-portraits.

²⁰ Tanikawa Shuntaro is a Japanese poet and translator. He is one of the most widely read and highly regarded of living Japanese poets, both in Japan and abroad, and a frequent subject of speculations regarding the Nobel Prize in Literature.

²¹ Tarō Hirai, better known by the pseudonym Edogawa Ranpo, also romanized as Edogawa Rampo, was a Japanese author and critic who played a major role in the development of Japanese mystery fiction. Many of his novels involve the detective hero Kogoro Akechi, who in later books was the leader of a group of boy detectives known as the Boy Detectives Club (少年探偵団 / Shounen Tantei Dan).

²² Jacques Prévert was a French poet who composed ballads of social hope and sentimental love; he also ranked among the foremost of screenwriters, especially during the 1930s and ’40s. His poems became and remain popular in the French-speaking world, particularly in schools. He was also a screenwriter and his best-regarded films, including Les Enfants du Paradis, formed part of the poetic realist movement.

²³ Mishima Yukio was a Japanese author, poet, playwright, actor, model, film director, nationalist, and founder of the Tatenokai. Mishima is considered one of the most important Japanese authors of the 20th century. Mishima’s political activities were controversial, and he remains a controversial figure in modern Japan. Ideologically, Mishima was a right-winger who protected the traditional culture and spirit of Japan.

²⁴ Baku Akae was a Japanese novelist. He was born in Shimonoseki, Yamaguchi. His novel Oidipusu no yaiba (オイディプスの刃 / Oedipus’ Sword) won the 1st Kadokawa Novel Award in 1974. In 1984, his novels Kaikyou (海峡 / Straits) and Yakumo ga Koroshita (八雲が殺した / Yakumo Kills) won the Izumi Kyōka Prize for Literature.

²⁵ Osamu Dazai was a Japanese author who is considered one of the foremost fiction writers of 20th-century Japan. A number of his most popular works, such as The Setting Sun and No Longer Human, are considered modern-day classics in Japan.

 

 

 

Translation: Yoshiyuki
Scans: morgianasama on LJ

Future Skull

Fool’s mate #139
May 1993

Interview text by Reiko Arakawa
Photography by Yohsuke Komatsu

 

 

Ruins and pleasures that you can’t help but think of

TRASH LAND; the album where loud beats intertwine with the documentary of happenings of a fictional city.
They who broke the mould have returned with this long-awaited new release.
This is the solo interview with their frontman, ISSAY.

 

 

 

If there’s something I want to do, nothing can stop me

 

―― To start, please give us a brief rundown of what led to your contracting with BMG Victor.

ISSAY (I): Two years ago, in the latter half of that particular year, our contract with Seven Gods Records (a label under Columbia) expired on its own and since then we were in a sort of limbo where our managing office had been decided but we hadn’t decided on a record company yet. So, while in that state we simply continued performing our lives throughout. Then, around September of last year, I think, talks with BMG Victor got serious, and that led to the current contract, basically.

―― During that period of limbo, did you emotionally feel something akin to impatience as one would expect in such a situation?

I: Mm~m, I didn’t. At all. Though, I don’t really know (smiles). Because I felt that we’d definitely make a decision in the end. I wonder how the other members felt, though? I guess there more or less would be some members who felt pressed about it, but I don’t think anyone felt it to the extent of becoming exceptionally anxious, you know? Because, after all, the only thing we could do was to focus on doing what we can and what we needed to do at that point in time.

―― You mean, to continue on at your own pace.

I: Mhm, because I’ve always thought that we’d likely make a decision before long. Although, it did take longer than I expected (smiles). Ah, well, but we also did talk about how it would be fine even if we released music through an indie [label]. Like, we’d probably be able to continue as Der Zibet anyway. Though, we did talk about how it would be a shame if the band broke up or if it stopped existing, among us members. We did feel that even if it ever comes to a situation where our band can’t release music, the state of Japan’s music industry probably won’t decay, so we were quite at ease, but when we started to sense the shadow of a doubt, a decision was more or less suddenly made (smiles).

―― You performed at Extasy Summit* two years ago, didn’t you?    I thought that this all started from there, and I’ve also heard rumours that you were going to sign with Extasy.

I: You know, even I was surprised when I heard that rumour from a reporter. Because such a thing had never been sounded out in the slightest bit, and other record company names have been raised before, so, why did that rumour even come about?    All that despite the fact that we, ourselves, have yet to make a decision too (smiles), y’know?

―― I think the origin of those rumours came about because there were occasions when ISSAY-san participated in their** personal events, but that you appeared quite a bit, didn’t you?

I: Is that so?    That could be it.

―― Did you decide to actively participate or anything like that?

I: There was no such conscious intention at all. It’s simply that I got invited, and if I liked the content that was going to be performed, then I’ll go, that’s all.

―― How do you perceive between yours and the bands’ activities?

I: No relation at all. Because I think it’s fine as long as I enjoy it.

―― Then, what about the unit, Hamlet Machine?

I: That’s a hobby, you see. Because I’m just doing it out of interest. I’m the type who would feel suffocated if I’m not performing at lives, so, even if it’s an event, if its direction interests me, I’ll go. And if there’s nothing like that either, then I’d form a band on my own, or I’d keep jumping into other people’s bands (smiles). Because I can’t do without singing on stage, you know?

―― By the way, I saw you performing the day before yesterday (20 Feb) at Power Station*** and I’m curious about ISSAY-san’s hairstyle changes.

I: Hair, you know, it just grows longer when you leave it alone, doesn’t it?    It just gets me wondering, what is it that keeps it in a certain shape, you know? So, there really isn’t much of a profound meaning behind this. It’s just that I got tired of it, you know. Now I’m just letting it be (smiles).

―― I think you change [your image] quite a lot and one of those aspects is your stage outfits, but what are your thoughts regarding that?

I: Since it’s an extension of my everyday wear, what I wore on stage the day before yesterday is exactly what I’d normally wear.

―― That’s not something exclusive to the stage?

I: Yep, that’s been the way it is for the past few years.

―― Huh?    Then, you go up on stage just like that?

I: Well, I don’t want to stay sweaty and catch a cold so I’ll bring a change of clothes, though (smiles). In general, if you see me on stage and get the idea that I look flashy, then during that period, I’d look flashy on regular days too. Previously, when I had extensions attached, it wasn’t possible to remove them, so I had no choice but to stick with that image, right? And during that time, I wore a purple coat on stage so I’d normally wear a purple coat too. Because you see, if I don’t do that, then nothing would match, right (smiles)? It just wouldn’t feel right, you know. But the person is the one who chooses the clothes, so I think that it should bring out all of the wearer. I can’t pull the brakes when I think, “Ah, I want to do it like this.” I think that’s one of my answers. I like rock because bringing that out is an acceptable form of expression, you know? I think I like it because it’s something where the person’s appearance is just as important as the person’s music.

―― Is there not much difference between the version of you on stage and the usual you?

I: Isn’t it the same?    It’s just that when I’m on stage, I’m in a “shrine maiden state”, you see. There’s nothing for me to do except to wait for the song to descend on me, so it feels like my body is possessed?    That much is different, I guess. Though, I suppose that’s quite a big difference (smiles).

 

ISSAY, Der Zibet

There’s a strong sense that we wanted this album to be something that aims outwards

 

―― Now, I’d like to ask you about your new album, “TRASH LAND”. How long ago did you start preparing for it?

I: Since around July, we had been putting together the demo tape which was to be used for the album. There were 10 plus songs, but once we arrived at the recording stage, we felt that those wouldn’t be interesting direction-wise, so in late November, we started composing again and then started recording in December.

―― Why were all of the credits for the songs written as Der Zibet instead of individual names?

I: There are also a lot of songs which each individual brought, but our band progressively composes through sessions, so there are times when it happens that this part may come from this person, but this other part comes from that person. The melody would change during our composition sessions, and in the end, it gets troublesome [to accurately credit the individuals] so we just leave it as Der Zibet.

―― Around how many songs did you end up with?

I: There were sooo many. How many were there?    It’s always like this, but I think there were 40~60 songs?   When we produce one album. Because there are also songs that are made up of only one phrase. Then we’d put together the phrases of two songs and so on, you know. We have quite a lot that was brought to the table as raw materials. Then there are also those songs that we compose as a band when we go into the studio of sessions, right? So, including that, it adds up to quite a considerable amount, doesn’t it?

―― So, what criteria do you go by to choose which song to go with?

I: Feeling^. It’s the band’s bigger sense of wanting to go in a particular direction at that point in time, you know.

―― Are the lyrics only written after you listen to the music?

I: Rather than writing them after listening, it’s more like I always have a stock of lyrics, you know. And even then, rather than a stock [of lyrics] which have taken shape, it’s more like a stock of fragments. Because I’m the type who would write things down on paper whenever I come up with something. Then, I would collate this stock in a notebook, and as I refer to it, I’d keep thinking and often, I’d go with putting bits from it together [to form song lyrics]. When there isn’t enough, I’d just come up with more there and then, anyway.

―― You always write down whatever comes to mind?

I: That’s right. When I feel like it. Though rather than song lyrics, it’s more like a stock of lyric phrases, you know?

―― You’ve always written song lyrics like this?

I: That’s right.

―― So, does that mean that when you’re writing song lyrics, you’ve never gotten stuck or come up with them last minute?

I: Nope, it’s happened. Numerous times. Because when the content of my word stock doesn’t fit the content of the song lyrics that I want to write at that moment, I have no choice but to redo it, right? But this time, it was easy. I had a vague, general image of it since the period of “Shishunki” Ⅰ and Ⅱ^^. So, there were a lot of words which I let lie for about a year or a year and a half.

―― To leave them for this album?

I: I spoke to the band members this time around, but rather than talking about the content of the lyrics, the conclusion which I arrived at when I spoke with HIKARU was that we wanted to do something straightforward. First and foremost, we felt that we wanted to produce a minimalist, rock and roll sort of album. That, and also, we had been doing live performances throughout that time, right?    We had this rhythm which we got through that period of time, so we also spoke about how we wanted to create something which had the potential for us to be aggressive during live performances. But rather than spending time griping about it, I brought (the lyrics) as materials because it would be faster to just suggest, “This is good, right?”

―― It’s quite a heavy sound, isn’t it?    It felt that way to me at your lives too, though.

I: I guess you can also say it’s an album that is the result of the trend of the type of songs that we chose to perform at our lives this past one year.

―― In the sense that the rhythm which you have grasped through your lives comes through in this album?

I: That’s right. And, to us, it’s also because our previous release, “Shishunki”, had a part of it which was overly introverted after all. I guess this [album] is also a response to that. At that point in time, we had no choice but to do that… We couldn’t progress to the next step, but I think we drew the line at that, you know? That’s why I think that we created something which burst with unnecessary things. In contrast, do we want to do something which aims outwards this time?    I guess there’s a strong sense that we hope people will listen to it anyway because we’re such a great band.

―― What do you mean by “aim outwards”?

I: I think that wanting it to aim outwards simply means that we want this album to sell. This might be interpreted as something very tasteless [to say], but basically, we want it to sell. That was a very strong intention that we had. But it’s not that we are hoping that doing this will commercialise us or something. It’s just that we wanted to release something that is the result of us putting our artist power on full blast. For some reason, the number of people who came to our lives had been steadily increasing during this past one year while we were left dangling in the air. That’s why we had confidence that the way we’re doing our lives is definitely the right way.

 

ISSAY, Der Zibet

The decadence of this era

 

―― This phrase, “TRASH LAND”, also appears as the album title, but what is it?

I: An unfinished city?    It’s a city at the turn of the millennium that I have in my head, but “TRASH LAND”, this imaginary city wasn’t something that I had in mind right from the start. Rather, it was the result of my initial concept of cities. While composing a few songs and writing a few lyrics, I had a moment of, “Oh, I see,” and came to a realisation on my own. [It’s the realisation] that I’m writing songs about disjointed scenes happening in the city. And that I wanted something like a concept which puts it all together into one whole. There, you see, is where the name “TRASH LAND” came from.

―― Considering that TRASH creates the image of garbage or junk, it brings to mind something similar to ruins, though.

I: Because when it comes to cities, what I imagine is futuristic ruins. That is the kind of image that has been going around in my head ever since I started writing the lyrics.

―― When you say ruins of the future, capturing that alone isn’t a very positive perspective, is it?

I: You see, I think of cities themselves as things that have yet to be completed. Even now, I feel that way. Since they’re incomplete, I can’t imagine what they’re like in their completed forms either, but I think that humans have always created all sorts of things in the direction of desire or pleasure. But if we went beyond that by a certain amount, we’d go crazy, right?    I think that’s why cities always turn to ruin. It’s easy to look at that and lament, but I wanted to acknowledge it this time. Like, I guess that’s just the way humans are.

―― You mean, [to acknowledge] the parts that are imperfect or warped?

I: I want to include those all together and acknowledge them too. Among all of that, I also really want to acknowledge my floundering self.

―― Is that perspective something that you’ve always had consistently?

I: Nope, I think it’s stronger recently.

―― Why so?

I: I wonder (smiles). I don’t know the answer to that. About why I became like this. I believe that humans are creatures that cannot stop chasing after pleasure. We move in accordance with that principle, so getting told that we’re not allowed to do so would make us lose our humanity; that’s what I think, without a doubt. Because we don’t need restricted freedom. I guess that’s why, in these past two years, I’ve been getting the sense of, “If that’s the case, what if just once, I went all the way to the limit?”. “THE END OF PLEASURE” and the like are songs which sort of touch on that, but I think it’s a declaration of resolve. Because I just want to see my destination. For example, war will never disappear, but although it’s easy to lament, “Why do humans go to war?”, what’s even simpler, to me, is the truth that humans just enjoy killing other people, don’t they? But if you don’t recognise that, you definitely won’t be able to control yourself, right? Because only those who say, “I don’t do that,” are the ones who kill. I thought that was something that I wanted to recognise myself.

―― Is that something you also want your listeners to acknowledge too?

I: I don’t want to do such pushy things. Saying, “So this is my stance!”. I think that it will be put through a filter by my creation of this fictitious city called “TRASH LAND”.

―― I feel like the public image of the band Der Zibet, the decadent atmosphere was again intensified by “Shishunki”, but was it your intention to wipe that away with this album?

I: Nope. I guess since “decadence” was something that has been said of us since our debut, no matter what we say now, it wouldn’t make a difference… So, because the trend thus far can be rounded up with the word “decadence”, I think that I’d probably be dabbling (in “decadence”) forever. Though, it’s not that I wanted to be defined as such. That’s why this album, too, could possibly turn out to be the decadence of this era.

―― I got the feeling that [this album] had a stronger sense of objectivity than “Shishunki”, though.

I: I believe there’s a lot of that. “Shishunki” is a work where I was floundering and kept going further and further inwards into myself, but for “TRASH LAND”, I feel that it’s about things that happen while normally walking through the city. About the people I saw, or what I felt. Because that’s what I feel we presented in this album. I think it really exudes the idea of the person who sang in “Shishunki” thinking, “What’ll happen if I go outside?”. In addition to that, I think that a variety of personalities emerge with each part of this fictitious “TRASH LAND” that gets created. I could feel myself opening up, like a part within myself that I wasn’t aware of or something that I wouldn’t normally write on my own.

―― Did the way you put out song lyrics in itself change too?

I: This started changing since Ⅱ of “Shishunki”, but I didn’t want to think too deeply about it. I felt quite liberated. This might’ve been my most relaxed experience so far. Since the premise was a fictitious city, no matter what comes of it, it wouldn’t be strange, would it? As I’m a person who doesn’t really go outside, to begin with, and I’m the type of person who likes staying still in my room, I’d daydream about all sorts of things on my own and entertain myself. So, I’d write lyrics, right, and between writing about realistic things and words which can only be fantasy, both are of the same level to me, you see. I think that is probably what people have been telling me is difficult to understand. There was a period when I thought of doing something about it. There was also a period when I pursued reality and tried different methods of writing, but this time, since we’re saying that it’s a fictitious city, anything is possible, so it was really easy. Because I could put out both the tangible things and what my imagination came up with together on the same level.

―― Lastly, please say something to readers who are being exposed to Der Zibet for the first time through this interview.

I: I think, thus far, Der Zibet has always produced new works on a timely basis. And I think this one is really timely as well, and to me, it’s a work that is being presented for this era. I hope that you will listen to it. Also, you don’t really have to bother yourself with the difficult things,  so just let yourself get immersed in the flood of this sound. I think you’ll definitely find something that catches hold of you in it. When you do find it, I hope that you will cherish it. Also, we’ll be going on our tour based off this album starting late April, so please do come. If you come once and it doesn’t interest you, you can come and watch us a second time too (smiles).

 

 

 

 

Notes:

* Extasy Summit was an event hosted by YOSHIKI’s Extasy Records which was meant to promote visual-kei and the bands that performed there. ISSAY took part in the 1991 edition, performing Lou Reed’s Satellite of Love with YOSHIKI on piano.
Watch it here: https://www.youtube.com/watch?v=Z9Ns1ax9AAU

** Subject was not specified here.

*** Likely referring to Nissin Power Station in Shinjuku, Tokyo.

^ It was written as “カン” rather than “感”.

^^ Shishunki Ⅰ and Ⅱ (思春期 Ⅰ – Upper Side – / 思春期 Ⅱ – Downer Side -) are Der Zibet’s 7th and 8th studio albums which were respectively released in July and October of 1991.

 

 

Translation: Yoshiyuki
Scans: morgianasama on LJ