BUCK-TICK’s 異空 -IZORA- Tour Final,
a magnificent show complete

Ongaku to Hito
23 July 2023

text by Ishii Eriko
photos by Seitaro Tanaka

 

【LIVE REPORT】
〈BUCK-TICK TOUR 2023 異空-IZORA-〉
2023.7.23 at Tokyo Garden Theatre

 

 

I watched the closing show of the masterpiece tour, BUCK-TICK TOUR 2023 異空-IZORA-. The previous time I saw them was on 19 April, at their Hachioji show so in short, of this19-show tour which visits a total of 17 locations, I’m only watching the first and last concert dates. I don’t know what happened along the way, what trials and errors and adjustments they made. But what I know for sure is that the first show and the last looked very different from each other. And that’s despite no changes with the videos and graphics projected on the screen, and the set list being more or less the same.

If I had to say, it’s so different that it’s as good as “a concert unveiling of a new show” versus “a theatre show”. If the purpose of a tour is to play their new songs live, then I think that’s something they have perfectly executed since day one. The 14-track long 異空 -IZORA- album underwent a reinterpretation in the two-hour-long concert.

They connected new songs to old; lining up the intense Showa-era flavoured song, THE SEASIDE STORY next to the distinctive city-pop song Mugen LOOP -LEAP-, and bringing in Jonathan Jet-Coaster right before the highlight of the main show Taiyou to Icarus with both songs sharing a similar theme. As written in my report of the first day, the band is capable of showcasing their work in this format precisely because they’ve kept going for 35 years and innovating throughout this time.

On top of that, what else changed to turn a “concert” into “theatre”? The issue of familiarity is of course one; the five members breathing as one, their bodies gradually growing more and more accustomed to the new songs. But what stood out above all of that was Sakurai Atsushi’s power of expression and performance.

Like Sayonara Shelter in the first half. This song was born from the imaginings of present-day Ukraine, and with each iteration on this tour, the performance of it turned into theatre. Sakurai cradles a small child, escapes to a safe place, dodging bullets as they fly past before returning fire himself with a gun in hand; these scenes captivate the audience as he sings.

Unlike a choreographed performance, he had, in short, fully immersed himself in it. The fear that one day the mic stand he holds at the end would look like an actual rifle seeps in. With the way the performance is executed, the pale moonlight shining from the screen in the back becomes more than a mere visual effect and somehow turns into an essential backdrop. Therein lies the difference between a simple performance and a dramatisation.

The next song which followed was Campanella  Hanataba wo Kimi ni, and coming right before it was a short monologue where he said, “Father, mother, it’s going to rain tonight again. Sparkly gold rain is……” His words bring forth the image of bombs flying between Ukraine and Russia. Would the audience have been just as taken aback and drawn to the scenes on stage if he instead said, “With love from the far east, please listen to this song.”? 

He performs wholeheartedly, turning one reality into a beautiful dream, swallowing both fact and fiction to turn them into one story. The singer who has surpassed the song ruled over the stage.

And there was Boogie Woogie in the midst of it all. On the first day of the tour, in the MC right before the song which sums up their pre-debut life, Sakurai said they’re “recreating a story from 35 years ago”. But now, on this final day of their tour, he changed his words to the following.

“How long can we keep going…… I wonder, how long can we keep going? Until death? No, even after death. We will do this even when we turn into ghosts. They are waiting! They are waiting!”

That was the moment a nostalgic song of the past became a song of the neverending future. Because no matter how far they run, no matter the city they head for, we (= they) who eagerly await them will never disappear. “Boogie woogie! Shoo-be-doo-ba!” These symbolic lyrics resound like an important chant.

This irreplaceable worldview will remain and persist even after the physical body has disappeared and turned into a soul. A man, who in an interview immediately after the album’s completion, said that he was still struggling, that it was hard to live, and that he was as depressed as ever, was the one to make such a powerful declaration.

I don’t think there’s any doubt that this tour is what made Sakurai talk about the future. There were a number of instances when I wondered whether the album, 異空 -IZORA- was really that positive a creation to begin with. Even though there are songs about loneliness and war, the beauty and sacredness of what they have accomplished are carried forth through his sombre and earnest performances. I believe catharsis would also come about amidst this.

The highlight of the main show was Taiyou to Icarus, where the protagonist rushes through to face death head-on. During this performance, Sakurai faced the radiant screen with outstretched arms. The sanctity of his silhouette remains unforgettable even now.

Four songs were played in the encore with old songs interspersed, once again leading us into the world of 異空 -IZORA-. Even though he’s only putting on makeup and dressing the way he likes, the faceless people all around are laughing. Even if such is the confession of the protagonist Hizumi who has no way out, it all slowly gets cleansed away at the end with Na mo Naki Watashi.

A single stalk of a white flower on screen. Midway through, it quietly starts to sway. The moment Sakurai pulls his outfit across his shoulder with a big swish, a blizzard of brightly coloured flowers rained down on the stage. Come to think of it, this move was not present in the first show. With this so-called visual effect showing perfect synchrony with the performer’s gestures, the magnificent show was made complete. It’s so beautiful that it left me speechless. This is the difference between the start and the goal. The difference between a “concert” and a “show”.

And just like this, they continued their way through their 35th anniversary year. The closing day is finally approaching. According to the extra news pamphlet which was distributed after the concert, BUCK-TICK TOUR 2023 異空-IZORA- FINALO will be held at Gunma Music Centre on 17 and 18 September.

The world of their new album evolved so much in the course of just one tour. While BUCK-TICK still continues to evolve on stage even now. I can only wonder what their final form will look like.

 

_____________________________________________________________________________

 

NEW ALBUM『異空 -IZORA-』
2023.04.12 RELEASE

■ Limited Edition Version A / B (Blu-ray / DVD)
■ Regular Edition
■ Limited Edition LP Version
■ Limited Edition Cassette Tape

Album cover of 異空 -IZORA-, BUCK-TICK
異空 -IZORA- | Album

〈CD〉※Same for both Limited and Regular editions
01 QUANTUM Ⅰ
02 SCARECROW
03 Warukyuure no Kikou
04 Sayonara Shelter ー destroy and regenerate-Mix
05 Ai no Harem
06 Campanella  Hanataba wo Kimi ni
07 THE FALLING DOWN
08 Taiyou to Icarus
09 Boogie Woogie
10 Mugen LOOP -IZORA-
11 Noraneko Blue
12 Hizumi
13 Na mo Naki Watashi
14 QUANTUM Ⅱ

〈Blu-ray/DVD〉 ※Limited edition only
Taiyou to Icarus MUSIC VIDEO
Mugen LOOP MUSIC VIDEO

_____________________________________________________________________________

 

〈BUCK-TICK TOUR 2023 異空-IZORA-〉

Friday, 1 September 2023 — Nippon Tokushu Tougyou Shimin Kaikan, Forest Hall (ex. Nagoya Civil Hall) ※Substitute

 

〈BUCK-TICK TOUR 2023 異空-IZORA- FINALO〉

Sunday, 17 September 2023 — Gunma Music Center
Monday (holiday), 18 September 2023 — Gunma Music Center

 

〈BUCK-TICK TOUR 2023 異空-IZORA- ALTERNATIVE SUN〉

Friday, 20 October 2023 — KT Zepp Yokohama
Thursday, 26 October 2023 — Zepp Nagoya
Saturday, 28 October 2023 — Zepp Fukuoka
Saturday, 4 November 2023 — Zepp Osaka Bayside
Sunday, 12 November 2023 — Zepp Sapporo
Sunday, 19 November 2023 — ToyosuPIT
Saturday, 2 December 2023 — Sendai GIGS
Saturday, 9 December 2023 — Zepp Haneda

 

BUCK-TICK Official Website

 

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito

 

BUCK-TICK’s 異空-IZORA- Album Tour Begins
An optimistic vitality on opening day

Ongaku to Hito
25 April 2023

text by Ishii Eriko
photos by Seitaro Tanaka

 

【LIVE REPORT】
〈BUCK-TICK TOUR 2023 異空-IZORA-〉
2023.04.19 at J:COM Hall Hachioji

 

 

 

“BUCK-TICK TOUR 2023 異空-IZORA-”. I got to watch the first day of this simply titled journey. From start to the very end, it truly was the world of 異空 -IZORA-.

It might be obvious. For 35 years, the band has continued to enchant us with a worldview based off their latest album whenever they release one. It’s not unusual that they would perform all of their new songs, including the instrumental pieces. But I was shocked to find that they stick to the typical style of doing all of that in the main part of the show and then bring on a bit of a festive mood with some past favourites in the encore. It was the world of 異空 -IZORA- through and through, from start to end. I was once again reminded of their confidence and commitment to this masterpiece.

It would be misleading to simply describe it as “dark” but 異空 -IZORA- is an album made heavy by reality. That’s mainly due to Sakurai Atsushi’s mental state which gets redirected into a variety of stories telling of narratives like war, children being sacrificed, even the band’s personal presentiment of an end looming over them, the feeling of being trapped with nowhere to run, and other similar themes. When these are the things that get verbalised in all the songs, it is probably inevitable that [the album would] steadily grow heavier, more serious. But despite this, the concert depicting the world of 異空 -IZORA- was definitely not a sombre one at all.

I have to refrain from naming specific songs, but new songs were connected to old songs to bring out a different nuance from the album. The magic of such song selection was truly magnificent. Their single, Mugen LOOP -LEAP- was paired with a fantastical love song from recent years to create the atmosphere of popular Showa-era songs which transcends time and space. Similarly, their other single, Taiyou to Icarus was sandwiched between a rock’n’roll track we haven’t heard in a while and a nostalgic song that was released in the 90s, starting up yet another different story to tell. Singing of imminent death in Taiyou to Icarus, Sakurai does not break that storyline but instead continues it by depicting the healing, comforting, and salvation of souls in the afterward.

Past experiences complement the present; I believe Boogie Woogie makes for the best example of that. This rock song which Sakurai describes as “a story from over 35 years ago recreated using the latest technology” takes us on a journey looking back at BUCK-TICK’s history of moving from city to city and stepping up on stage once night fell.

The five members of the band are usually all over the place [in terms of dressing], but on this day, Imai Hisashi and Hoshino Hidehiko wore somewhat similar outfits, creating a kind of symmetry with Sakurai in the middle which looked great. The brothers Yagami & Higuchi standing firm in the back, the two guitarists with different music styles, and the charismatic vocalist. It’s late for me to realise now, but this is what harmony looks like.

Imai now stands on stage without the need of a cane, kicking his legs everywhere without restraint. As we headed towards the end, what I really wanted to remember and take note of was the glory of Sakurai’s story-telling ability as he blooms madly in profusion alongside Imai’s guitar solo warping space and time.

This is the power of a band who has kept going and renewing themselves throughout this time. The same members have the same shared times together and kept creating with a trajectory towards the latest album. The overall structure remains intact even when songs from 30 years ago are lined up alongside their latest tracks. Or rather, whatever they’ve done thus far appears to complement the present, so much so that it makes me feel as if the old songs might’ve been put there to make the new songs shine even brighter.

There is no doubt that the heaviness in 異空 -IZORA- is definitely something that came about from facing reality, but thanks to past songs and their level of experience, they managed to maintain the balance even now, without letting things get too serious. There were a number of instances where it looked as if the members of the band themselves were aware of this too.

What made such a show even more exciting was the voice of the audience. Masks are still mandatory. But cheering is now allowed and we could see from the member’s expressions how much morale it gives them. Thunderous applause, everyone singing along to the melody of the chorus, the various calls of “Accha~n!” “Imai-sa~n!” that could be heard between songs. In the past, this could’ve been thought of as something that would ruin their pitch-black world, but hearing this for the first time in three years, I now realise that it is really a reassuring courage, or rather, nothing but a show of support for the band.

I believe the reason why they are capable of so unapologetically releasing an album like 異空 -IZORA- is because of their past of continuity, and in a similar sense, because they have so many fans. War, death, trauma, distortions…… With these words, it sounds like an album close to despair, but these were turned into works of art, stories that could only become a form of entertainment because they have fans who are capable of digesting it. Maybe that is something they came to realise because COVID-19 happened. Even as we tremble at the prospect of an imminent end, nevertheless, BUCK-TICK continues on with certainty. An optimistic, forward-looking vitality. This was the only thing I felt with the start of this tour.

 

_____________________________________________________________________________

 

〈BUCK-TICK TOUR 2023 異空-IZORA-〉

Saturday, 13 May 2023 — High Staff Hall, large hall (Kanonji City Meeting Hall)

Sunday, 14 May 2023 — Kurashiki City Auditorium

Saturday, 20 May 2023 — ROHM Theatre Kyoto, main hall

Sunday, 21 May 2023 — Kobe Kokusai Kaikan Kokusai Hall

Saturday, 27 May 2023 — Pacifico Yokohama National Convention Hall

Saturday, 3 June 2023 — Japan Special Ceramic Industry Civic Center, Forest Hall (ex. Nagoya Civic Hall)

Saturday, 10 June 2023 — Hondanomori Hall

Sunday, 11 June 2023 — Nagano City Arts Center, main hall

Saturday, 17 June 2023 — Orix Theater (ex. Osaka Welfare Pension Hall)

Sunday, 18 June 2023 — Orix Theater (ex. Osaka Welfare Pension Hall)

Saturday, 24 June 2023 — Ueno Gakuen Hall (Hiroshima Prefectural Culture and Arts Hall)

Sunday, 25 June 2023 — Fukuoka Sunpalace Hotel & Hall

Saturday, 1 July 2023 — Sapporo Kanamoto Hall (Sapporo Civic Hall)

Sunday, 9 July 2023 — Sendai Sun Plaza Hall

Saturday, 15 July 2023 — Takasaki City Theatre, large theatre

Monday (holiday), 17 July 2023 — Shizuoka City Culture Hall, large hall

Saturday, 22 July 2023 — Tokyo Garden Theatre

Sunday, 23 July 2023 — Tokyo Garden Theatre

 

BUCK-TICK Official Website

 

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito

 

BUCK-TICK leads into the future
at their concert in hometown, Gunma

Ongaku to Hito
22 September 2023

text by Ishii Eriko
photos by Yamauchi Hiroe, Aoki Sayaka

 

【LIVE REPORT】
〈BUCK-TICK TOUR 2023 異空-IZORA- FINALO〉
2023.09.17 at Gunma Music Center

 

 

 

The closing of their 35th anniversary year. Held in a retro two thousand people-capacity hall at the Gunma Music Center in Takasaki with a relatively small stage and sound system that one could hardly call the best. This is also a venue that BUCK-TICK hasn’t utilised in a  while.

I recall the gathering of twelve thousand people in Yokohama Arena one year ago where state-of-the-art LED screens were used. That marked the start of their momentous 35th anniversary of the band’s debut. In terms of the scale of the fireworks launched, it was by far the most spectacular and flamboyant stage. The weight of what they carry was also another factor which added to it. In the year since then, I’ve constantly felt like something was weighing me down

Frankly speaking, it’s the pandemic and the war. We have entered a time where things which we’ve always had without question, like good health and peace and children’s laughter are increasingly under threat. No in-person concerts could be held for their previous album, ABRACADABRA and the subsequent tours which came about afterwards had shows that they had no choice but to forgo due to members of the band getting injured or catching COVID-19.

Perhaps they could’ve made the choice to use this opportunity to take a break, but with the thought of their remaining time counting down in the back of their heads, none of the members of the band bring themselves to do so. There is no time to waste. Anniversary campaigns came one after another, a new album which they originally wanted to release as two CDs, a tour schedule that had already been set……

The words we hear right at the start of 異空 -IZORA-, “Can’t run away There’s nowhere for me anymore”, sounded as if they could’ve been Sakurai Atsushi’s true feelings just before the celebration of their 35th anniversary year; beyond grateful that they can celebrate with everyone. But at the time, the audience weren’t allowed to make even a sound. We couldn’t follow their lead to celebrate at all. Watching their performance of Aikawarazu no Are~ on that stage left such an impression on me that it felt like a horror movie I could never forget, and the one and only new song they performed, Sayonara Shelter, brought the reality of Ukraine in front of our eyes. The celebratory mood was nowhere to be found.

The number of war-related songs only increased in their new album. Like Campanella  Hanataba wo Kimi ni (花束を君に / A Bouquet for You) and Taiyou to Icarus (太陽とイカロス / The Sun and Icarus). Furthermore, the despair of no escape evolved through concrete characters in Warukyuure no Kikou (ワルキューレの騎行 / Ride of the Valkyries) and Hizumi (ヒズミ). What I saw during TOUR 2023 異空-IZORA- which ran from April to July was Sakurai’s incredible performance with the way he wholeheartedly engulfs himself in the narratives. The band, pressed by an imminent reality, is applying this to the stage, showing us how they turn it into entertainment through radical performances. I believe that it is in this foundation where the anxiety of “Can’t run away There’s nowhere for me anymore” exists as a constant.

The final chapter and, at the same time, the end of their 35th anniversary year. A concert which marks two ends is a little different than the usual. The selection of songs did take into consideration the flow of the tour, but with the inclusion of songs like ICONOCLASM and Ningyo -mermaid-, which were not in the original lineup added to the momentum and added a festive joy back into the show. Even more striking was the removal of Jonathan Jet-Coaster, a song thematically similar to Taiyou to Icarus from the setlist. In short, the sense of confrontation against war had been eased just a little bit.

They’re not telling us to forget all the bad things. They’re also not a band who’s all-smiles, always saying that things are alright. But with the weight of reality carved into a number of songs which they perform in earnest on a near daily basis, perhaps the stage is where they can find a break from reality. The band continues even after the anniversary year concludes. In that case, what will the five of them start going forward? Unlike Takasaki City Theatre, unlike Takasaki Arena, it is the cosy Gunma Music Center that is the closest possible stage to the band’s starting point.

The first time BUCK-TICK took the stage here was in 1988 for their SEVENTH HEAVEN tour. The very next year, they suspended activities due to Imai’s scandal and it was on this very stage that they made their come-back. For all their tours up until 1993, they held the final two days of concerts at this venue so there’s no doubt that this is a closing location filled with precious memories. Digressing, during the encore, Imai took a 360-degree video of the audience floor and the stage with his smartphone. That video also includes a heartwarming scene of Yuta dashing in to try and get in the shot. Whether it was during their performance, in their expressions, or for the MC, the five members of the band seemed comfortable and relaxed.

The encore. Sakurai begins his self-introduction as the transgender lady, Hizumi-chan. Beginning with the words, “Father, mother, I love you, good bye……”, the way we all got sucked deep into the bog of Hizumi is the greatest masterpiece, the nightmarish highlight that grew out of TOUR 2023 異空-IZORA-. Singing the words, “The traffic lights turn red” “If it’s going to be this way”, what she has her eyes stuck on is a reality where it’s all too late. Merciless is the pen of lyric composer Sakurai where “rampaging” takes the place of “approaching” in the final line of the song; alluding that the future which should’ve continued as planned is about to get a sudden shake up and lose all equilibrium. I would even say that it is too cruel, too disturbing to write something like this.

But Hizumi-chan has grown through the tour and now, she refuses to sing that aloud. After singing “The next train is…”, Sakurai goes silent and at the end of the chorus sings, “Ah〜”. But it is intentional enough as it is. Just like that, the curtains close with Na mo Naki Watashi (名も無きわたし / I, Nameless) and the show ends with QUANTUM II. Thus far, everything goes on as per normal, but on this day, the band heads backstage. And then, the second encore starts again.

Sakurai sounded happy delivering his MC. With a “Thank You!”, New World’s sparkly melody which made it feel like we could just about see the little droplets of sound began. This radiance was a true lifesaver. That something which had hung on since their Yokohama Arena show. That rainy gloom which never seemed to clear. Of course, neither COVID-19 nor the war has gone away. Even so, BUCK-TICK heads into a new world. The memories of one year ago which felt like an unforgettable horror dissipated in the white light. “Cut through this infinite darkness”. After a long time, we could finally catch a glimpse of BUCK-TICK inviting us into the future.

 

【SETLIST】

SE. QUANTUM I
1. SCARECROW
2. Warukyuure no Kikou (Ride of the Valkyries)
3. ICONOCLASM
4. Zangai (残骸)
5. Ai no Harem (Harem of Love)
6. Sayonara Shelter destroy and regenerate-Mix
7. Campanella  Hanataba wo Kimi ni (A Bouquet For You)
8. THE SEASIDE STORY
9. 人魚 -mermaid-
10. Mugen LOOP -LEAP-
11. Boogie Woogie
12. Noraneko Blue (Stray Cat Blue)
13. THE FALLING DOWN
14. Tenshi wa Dare da (天使は誰だ)
15. Taiyou to Icarus (The Sun and Icarus)
16. die

ENCORE 01

17. CLIMAX TOGETHER
18. Cuba Libre
19. Coyote
20. Hizumi (ヒズミ)
21. Na mo Naki Watashi (名も無きわたし)

ENCORE 02

22. New World
SE. QUANTUM II

 

【Concert archive information】

BUCK-TICK TOUR 2023 異空-IZORA- FINALO
18 September 2023 (Mon/Holiday), Gunma Music Center

For more details on the performance or archived streaming, please visit
https://buck-tick.com/feature/specialsite_2023tour_finalo

_____________________________________________________________________________

LIVE Blu-ray & DVD
『TOUR THE BEST 35th anniv. FINALO in Budokan』
2023.12.13 RELEASE

■Limited Edition Blu-ray(BD+2SHM-CD+PHOTOBOOK)
■Limited Edition DVD(DVD+2SHM-CD+PHOTOBOOK)
■Standard Edition Blu-ray(BD)
■Standard Edition DVD(DVD)

<Tracklist>
SE. THEME OF B-T
01. Go-Go B-T TRAIN
02. Alice in Wonder Underground
03. GUSTAVE
04. FUTURE SONG -未来が通る-
05. Moon Sayonara wo Oshiete
06. Melancholia -ELECTRIA–
07. Villain
08. Maimu Mime
09. MOONLIGHT ESCAPE
10. Dance Tengoku
11. Eureka
12. Sayonara Shelter
13. RAIN
14. ROMANCE
15. Muma -The Nightmare
16. JUST ONE MORE KISS Ver.2021
17. JUPITER
18. Memento mori
19. Dokudanjo Beauty -R.I.P.-
20. LOVE PARADE
21. Yume Miru Uchuu (夢見る宇宙)
22. Kodou (2022MIX)

[Limited Edition bonus (applicable to both Blu-ray and DVD versions)]
・LIVE CD [x2 ] included
・64-page photobook included
・Comes in special packaging

Order from Amazon Japan

Order from TOWER RECORDS

Order from HMV

_____________________________________________________________________________

〈THE DAY IN QUESTION 2023〉

Friday, 29 December 2023 at Nippon Budokan, Tokyo
Doors open 17:30, show starts 18:30
Designated seating; ¥11,000 (w/ tax)

Special Website

BUCK-TICK Official Website

 

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito

 

BUCK-TICK concludes 35th debut anniversary in hometown Gunma
Gunma Music Center’s Official Concert Report

SPICE
22 September 2023

Text=Yuka Okubo
Photos=Yamauchi Hiroe, Aoki Sayaka

 

Kicking off the celebration of the 35th anniversary of their major debut in September 2022, BUCK-TICK embarked on a national tour named BUCK-TICK TOUR 2023 異空-IZORA- following the release of their latest album, 異空 -IZORA- in April. For their final stop of the tour, they returned under the skies of their hometown, Gunma on 17 and 18 September, additional shows named BUCK-TICK TOUR 2023 異空-IZORA- FINALO, which were intended to conclude this celebratory anniversary year. The news of these shows meant something special to their fans when it popped up at the end of their concert held in July at Tokyo Garden Theatre.

Alighting at the JR Takasaki Station on 17 September, you will be greeted by posters created for this two-day event. As you breathe in the air of their hometown, you walk down the path leading from the station to Gunma Music Center. The skies over Takasaki are clear on this day. Once you arrive at the front of the venue, you find five life-size standees, one for each member of the band on display. Your excitement can only grow with this second greeting.

Ever since their SEVENTH HEAVEN TOUR in 1988, the band has played numerous times at Gunma Music Center which was established in 1961, a year before the band’s drummer, Yagami Toll was born. That modern structure seemed to suit the world of 異空 -IZORA-.

The story encased in their album 異空 -IZORA- reflects the unsettling state of the world, the strain behind a diverse society, and  the actions and emotions of the people living in these settings. The narrative only grows in depth with each BUCK-TICK TOUR 2023 異空-IZORA- show they perform, and it was thought that it had come to a close following the overpowering performance they staged on the last day of their Tokyo Garden Theatre dates.

In BUCK-TICK TOUR 2023 異空-IZORA- FINALO, the songs kept their album placements while older songs were changed or added into the set list, leaving the audience with different feel and impression than before.

As the instrumental track, QUANTUM Ⅰ played, a rousing applause accompanied by cheers rose up as from the left side of the stage entered Imai Hisashi (guitarist) first, followed by Yagami, Higuchi Yutaka (bassist), and Hoshino Hidehiko (guitarist). The moment the four of them took their positions with their instruments in hand, the audience were unable to contain their high spirits and the applause turned to rhythmic clapping. When the music came to its climax, Sakurai Atsushi (vocalist) appeared in the centre of the stage with a black hat and black feather boa while dressed in a black outfit which left his thighs uncovered.

The first song, SCARECROW sounded synchronised with the silhouette of a scarecrow which was projected in the background and even featured the crow which attacks the scarecrow in the lyrics. The four members who played instruments were all dressed in white, making them look especially uniform. The increasing panic and distress at the reality of having nowhere to run grows from the chorus as they up the tempo and push it to the very edge.

That tension carries into the industrial track, Warukyuure no Kikou (Ride of the Valkyries / ワルキューレの騎行) and after it fades away, the band leads into ICONOCLASM as Imai  scratches the strings of his guitar in tandem with the familiar “klang klang kla-klang”. Cheers erupted for this song which was not part of this tour’s original setlist. The excitement in the hall heated up even more when in the middle, Sakurai changed the lyrics of the line “Five for Japanese Babies” to “Five for Takasaki Babies”.

The next song, Zangai was also another track which was making its first appearance in the setlist of this tour. It felt as if this rock tune about a powerful lifeforce blazing aflame while living alongside death had something in common with the worldview of 異空 -IZORA-.

Flames of torches danced and the atmosphere changed to the sound of exotic percussion music as Ai no Harem (Harem of Love / 愛のハレム) played. With tingsha bells swaying in his right hand, Sakurai’s melancholic voice sang full of emotion in the sweet luscious music.

Sakurai’s performance of conflicted, gun-wielding soldier sending his child to a safe house in Sayonara Shelter destroy and regenerate-Mix has always had the audience rapt, but on this day, the most impactful moment was seeing him gently place the mic stand, which he always held like a gun, on the floor. During the tour, I’ve seen his performance of throwing it away numerous times, but seeing him convey his emotions of this moment with such a performance on this day was intriguing.

“Father, Mother, here’s a bouquet of flowers for you,” said Sakurai before jumping into the catchy melody of Campanella  Hanataba wo Kimi ni (A Bouquet For You / 花束を君に) where he sings about the graphic nature of war from the perspective of a child. Following two mermaid songs, THE SEASIDE STORY and Ningyo -mermaid-, a samba rhythm took over the beachy atmosphere as Mugen LOOP -LEAP- brought about a fantastical soundscape. After that, a short MC.

Perhaps the audience’s expectations of something special happening because this is a concert in their hometown had been impressed upon Sakurai. Say, for example, like how he once introduced the members in reference to Jomo Karuta in a previous show. But instead, Sakurai dodged their expectations with, “People tend to speculate that there’s always something (special) happening in Takasaki (shows)…… There isn’t.” Then, he added, “The members of our band managed to meet each other in our hometown. I suppose that’s about it.”

Moving on, he said, “That girl’s been waiting for us. That’s why we got on stage.” And they continued the show with Boogie Woogie, a song filled with lyrics referencing the band’s early days, and the bluesy Noraneko Blue (Stray Cat Blue / 野良猫ブルー). The shuffle beat song, THE FALLING DOWN was followed by Tenshi wa Dare da (天使は誰だ), both of which reference the Book of Genesis. After that, we finally arrive at the climax of the main show. 

First, Taiyou to Icarus (The Sun and Icarus / 太陽とイカロス), a lighthearted melody that accompanies the heavy theme of war. When Sakurai sang, “Kanashiku wa nai Kore de jiyuu da”, he spread his arms out, moving them like flapping wings with a bright red sun in the background. The sight could only be described as beautiful, yet sad. Then came die, a song that led us into the spiritual which comes after. Huge spider lilies came on screen to the immersive sounds. Under a light that seems to envelop the whole space, I felt a certain kind of ecstasy.

The encore started with Yagami Toll’s drum solo and turned the heat up with the high tempo CLIMAX TOGETHER where Sakurai sang the line, “WE LOVE ALL   dakishimetai” with all his hopes from this 35th anniversary. They then continued with Spanish-inspired songs, Cuba Libre and Coyote, followed by Hizumi.

Centrestage was a candle lit aflame and a chair. When Sakurai sat down and started his monologue, both Sakurai’s expressions and the atmosphere of the room changed. Next to Sakurai who sang with piercing eyes and a forlorn expression was Imai who hopped and skipped around dancing Jenkka. The imbalance of the performance only added to the melancholy of it all.

During Na mo Naki Watashi (名も無きわたし) which sings of life coming into bloom, the sight of petals dancing in the air seemed to expand from the stage to include the whole hall where paper petals float down. While the clear ensemble and powerful vocals brought about a sense of euphoria, they also led towards catharsis.

There was no double encore during the tour so New World was not originally performed during the tour. On this day, the band closed off their 35th anniversary year shining brightly at their future with this track which was filled with a light befitting of BUCK-TICK as they sped into a new chapter. At the same time, it begs a question; will the protagonist from Taiyou to Icarus who pointed at the sun while riding in an aircraft really call our “present” world that has been entrusted to us beautiful? Would our future become something we can be proud of?

Along with the lingering memories of the concert, that question remains in my mind even a few days after the event. The things that connect from past to present and to future. The things we want to protect. I think the message that 異空 -IZORA- carries has been thoroughly conveyed into my heart through this tour.

After the performance, a pleasant surprise was waiting outside for the exiting audience. Using projection mapping, messages from the band members and “thank you” in languages from all over the world were projected onto the exterior of the venue. What great hospitality! Voices of appreciation for this thoughtful display were all around.

The live-streamed performance on the next day, the 18th was a special one that was closed to external parties so that the band got to share a fulfilling time with their fans. I hope that you’ll enjoy this show in the archived stream that will remain available until 23:59 on Tuesday, 26 September (or 23:59 on Monday, 25 September for certain streaming platforms).

In a printed extra that was distributed after this performance, the future of BUCK-TICK was written; they announced that they will be holding THE DAY IN QUESTION 2023 on Friday, 29 December at Nippon Budokan, along with the production of a movie commemorating their 35th debut anniversary year. We eagerly await the completion of this film to see how it will portray the band who ran through the anniversary year without a break.

 

 

SETLIST
BUCK-TICK TOUR 2023 異空-IZORA- FINALO
2023.9.17-18 
Gunma Music Center

SE. QUANTUM I
1. SCARECROW
2. Warukyuure no Kikou (Ride of the Valkyries)
3. ICONOCLASM
4. Zangai (残骸)
5. Ai no Harem (Harem of Love)
6. Sayonara Shelter destroy and regenerate-Mix
7. Campanella  Hanataba wo Kimi ni (A Bouquet For You)
8. THE SEASIDE STORY
9. 人魚 -mermaid-
10. Mugen LOOP -LEAP-
11. Boogie Woogie
12. Noraneko Blue (Stray Cat Blue)
13. THE FALLING DOWN
14. Tenshi wa Dare da (天使は誰だ)
15. Taiyou to Icarus (The Sun and Icarus)
16. die

<ENCORE1>

17. CLIMAX TOGETHER
18. Cuba Libre
19. Coyote
20. Hizumi (ヒズミ)
21. Na mo Naki Watashi (名も無きわたし)

<ENCORE2>

22. New World
SE. QUANTUM II

 

 

Upcoming Releases
LIVE Blu-ray&DVD
『TOUR THE BEST 35th anniv. FINALO in Budokan』

Limited Edition Blu-ray(BD+2SHM-CD+PHOTOBOOK) VIZL-2252 / ¥12,100 (w/ tax)
Limited Edition DVD(DVD+2SHM-CD+PHOTOBOOK) VIZL-2253 / ¥11,000 (w/ tax)
Standard Edition Blu-ray(BD) VIXL-426 / ¥7,700 (w/ tax)
Standard Edition DVD(DVD) VIBL-1110 / ¥6,600 (w/ tax)

<Tracklist>
SE. THEME OF B-T
01. Go-Go B-T TRAIN
02. Alice in Wonder Underground
03. GUSTAVE
04. FUTURE SONG -未来が通る-
05. Moon Sayonara wo Oshiete
06. Melancholia -ELECTRIA–
07. Villain
08. Maimu Mime
09. MOONLIGHT ESCAPE
10. Dance Tengoku
11. Eureka
12. Sayonara Shelter
13. RAIN
14. ROMANCE
15. Muma -The Nightmare
16. JUST ONE MORE KISS Ver.2021
17. JUPITER
18. Memento mori
19. Dokudanjo Beauty -R.I.P.-
20. LOVE PARADE
21. Yume Miru Uchuu (夢見る宇宙)
22. Kodou (2022MIX)

[Limited Edition bonus (applicable to both Blu-ray and DVD versions)]
・LIVE CD [x2 ] included
・64-page photobook included
・Comes in special packaging

Pre-order here:
Limited Edition Blu-ray (BD+2SHM-CD+PHOTOBOOK)
https://www.jvcmusic.co.jp/-/Linkall/VIZL-2252.html
Limited Edition DVD (DVD+2SHM-CD+PHOTOBOOK)
https://www.jvcmusic.co.jp/-/Linkall/VIZL-2253.html
Regular Edition Blu-ray (BD)
https://www.jvcmusic.co.jp/-/Linkall/VIXL-426.html
Regular Edition DVD (DVD)
https://www.jvcmusic.co.jp/-/Linkall/VIBL-1110.html

 

Upcoming Concerts

BUCK-TICK TOUR 2023 異空-IZORA- ALTERNATIVE SUN

Friday, 20 October 2023 — Kanagawa: KT Zepp Yokohama
Thursday, 26 October 2023 — Aichi: Zepp Nagoya
Saturday, 28 October 2023 — Fukuoka: Zepp Fukuoka
Saturday, 14 November 2023 — Osaka: Zepp Osaka Bayside
Sunday, 12 November 2023 — Hokkaido: Zepp Sapporo
Sunday, 19 November 2023 — Tokyo: Toyosu PIT
Saturday, 2 December 2023 — Miyagi: Sendai GIGS
Saturday, 9 December 2023 — Tokyo: Zepp Haneda

Tickets on sale now

_____________________________________________________________________________

THE DAY IN QUESTION 2023
Friday, 29 December 2023 @ Nippon Budokan, Tokyo

Doors open 17:30, show starts 18:30
All seats designated, ¥11,000 (w/tax)
(Inquiries) SOGO TOKYO 03-3405-9999
General ticket sales starts: Saturday, 25 November 2023

 

Streaming information
【Concert archive information】

Event day: 18 September 2023 (Mon/Holiday)
Event name: BUCK-TICK TOUR 2023 異空-IZORA- FINALO
Venue: Gunma Music Center
For more details on archived streaming, please visit the
Official Website: https://buck-tick.com/feature/specialsite_2023tour_finalo

 

Upcoming Screenings

Release date: TBC
Title: TBC

[BUCK-TICK Movie Official Website]
https://bt-movie.love

 

 

*Duplicate images have different sizes

 

Translation: Yoshiyuki
Images: SPICE , Victor Music tweets (1, 2)

 

BUCK-TICK Announces 35th Anniversary Documentary Film,
Annual Budokan Concert

Natalie.mu
18 September 2023

 

 

BUCK-TICK has announced that a documentary film commemorating their 35th debut anniversary is in production.

This will be the third movie that BUCK-TICK is producing since the first, The Buck-Tick Syndrome (劇場版BUCK-TICK~バクチク現象~) which was released in 2013 and the second, BUCK-TICK~CLIMAX TOGETHER~ON SCREEN 1992-2016 which was released in 2017. Filming for this movie began in December 2021 and is still ongoing at present. We all look forward to finding out what we will get to see in it.

At the same time, BUCK-TICK has also confirmed that they will be holding their annual 29th December concert at the Nippon Budokan in Tokyo. This has been an annual affair for the band ever since BUCK-TICK held a concert in the Budokan back in 2000. 2019 was the only year that they had to change the venue of this event to Yoyogi National Stadium’s First Gymnasium, but apart from this one instance, this is a special performance that has always been held in the Budokan.

Double membership holders of their official fan club and official mobile site can begin applying for early bird tickets starting 21st September, at 12 p.m. Japan Standard Time. General ticket sales will commence 25th November.

 

 

 

 

Translation: Yoshiyuki
Source: Natalie.mu

“The Parade Will Always Go On”
BUCK-TICK TOUR THE BEST 35th anniv. Official First Day Concert Report

Pia News
15 October 2022

Text=Yuka Okubo
Photos=Seitaro Tanaka

 

After BUCK-TICK celebrated the 35th anniversary of their major debut and released their best-of album CATALOGUE THE BEST 35th anniv. on 21 September 2022, they kicked off their national tour BUCK-TICK TOUR THE BEST 35th anniv. with their first show at Tachikawa Stage Garden on 13 October.

Looking back at BUCK-TICK’s anniversary concerts, both the 20th and 25th anniversary shows were lively festival-style events featuring artists who participated in their tribute albums. For their 30th anniversary show, they switched to putting on a bang of a solo show over two days with a special stage set up at Odaiba, Tokyo and vastly different setlists for each day covering their 30-year career.

Their 35th anniversary concert was held on 23 and 24 September this year at Yokohama Arena, Kanagawa. The setlist was a departure from the festive mood of the previous anniversary live shows; instead of going for nostalgia of the past, they performed songs with messages that were crucial for the present and overwhelmed the audience with the use of bold imagery that even covered the performing members from view to bring this worldview into reality.

BUCK-TICK is a truly rare band of its kind. Huge posters were put up in Shinjuku and Shibuya stations during the run-up to the 35th anniversary show. I saw a group of office workers on their way home from work who stopped when they saw the poster that featured BUCK-TICK’s debut photo and the band as they are now posing in the same way.

“Wow, what a throwback.”  “BUCK-TICK? …… You know them?”  “Oh, yeah. They used to  be a Visual-Kei band back then, though.”

That was a conversation I overheard, probably between a boss and his staff. Fans who heard it will probably think there’s a bunch of wrong information there, and those who aren’t fans will probably think that’s all there is to the conversation.

However, the undeniable facts are that BUCK-TICK has continued to focus on their music and evolve for 35 years without losing themselves, they have performed at the Nippon Budokan almost every year, their revolutionary sound and discrete style are a major influence on bands who came after them, and even now, they’re still being “discovered” and are attracting all kinds of audiences. Such bands are hard to come by.

On the other hand, the news that their singer Sakurai Atsushi would be a radio personality (every Friday at 9pm from October to December on FM COCOLO) “for the first time in his 35-year career” caused a stir among their fans. It’s probably hard to find another band who would fit in such a box.

While they did live stream concerts and have a film concert tour during the height of the COVID-19 pandemic, this will be the first time in almost three years that the band is holding  a national hall tour with 21 shows. While the first show of their tour may bring a whole lot of nerves, the selection of songs were full of character, bringing smiles and tears where appropriate. The band ensemble rich with expression and a full-on performance from fingertips to toes tactfully weaved the show together.

【RIBELO】【GOTIKA】【ELEKTRIZO】【FANTAZIO】【ESPERO】
The setlist, built around these five concepts of their best-of album, CATALOGUE THE BEST 35th anniv. which showcased the band’s songs in themes rather than a timeline, was fresh with the way it linked two timeless songs to create a new story and also included songs that hadn’t been performed in quite a while. Also, projection mapping visuals filled the stage, bringing to life the worldviews of each song in a way that is again different from what they showed us in the Yokohama Arena shows.

“I hope we get to shout ‘love’ and ‘peace’ together soon,” said Sakurai during an MC break before leading into Sayonara Shelter, the new song in their best-of album. This performance could very well be considered to be the highlight of this tour with the way he softly sings this song that is quiet yet strongly angry at the current state of the world despite its gentle melody, as if praying.

“I don’t know how it will last, but the parade will always go on.” ── Sakurai

“Parade” refers to BUCK-TICK’s locus. This word will always be attached to their anniversary shows. The message may sound contradictory for a moment, but we can sense their intention to “see the parade that is BUCK-TICK to the end”. But it’s still too early for us to get ahead of ourselves and feel sad about the end which we don’t even know when to anticipate.

Taking off with a spring in its step and full of lively music, this “B-T TRAIN” is fueled by the love of those who ride along with it. I’m certain it won’t be leaving anyone behind as it races towards its final destination, the 29 December show, BUCK-TICK TOUR THE BEST 35th anniv. FINALO at Tokyo’s Nippon Budokan. And after that, we will await a new hope, and a new start in the form of a new album.

 

 

 

 

 

 

Translation: Yoshiyuki
Source: Pia News

 

 

Official Report
BUCK-TICK’s 35th Debut Anniversary 2-Day Concert at Yokohama Arena

Spice
27 September 2022

Text=Yuka Okubo
Photos=Seitaro Tanaka

 

We have received the official concert report of BUCK-TICK’s 35th debut anniversary concert, BUCK-TICK 2022“THE PARADE”~35th anniversary~ which was held on two days on the Friday and Saturday, 23rd and 24th of September 2022 at Yokohama Arena.

 

 

BUCK-TICK celebrated their 35th debut anniversary with no change in member line-up on 21 September 2022. On the 23rd and 24th, the held their 35th debut anniversary concert, BUCK-TICK 2022“THE PARADE” ~35th anniversary~ at Yokohama Arena in Kanagawa.

There were two main special characteristics for this 35th anniversary show. 

The first was dynamic light and video production which made use of 12 lasers and a large LED screen. Past anniversary concerts, named “PARADE” which came before were all held on outdoor stage like the special outdoor stage created at Yokohama Minato Mirai Shinko Pier in 2007, at Chiba Port Park in 2012, and Odaiba Yagai Tokusetsu Kaijo in 2017, making this the first anniversary concert being held in an arena. At an outdoor venue, lighting and visual effects don’t come into play until the sun sets, so this time, the band was able to construct their world right from the very start.

There is one fixed screen on each side of the stage, plus one giant screen at the back of the stage and one more large screen in front of the stage. The screen in front of the stage could be moved which meant that while there were some sets there the screen remained in front of the stage like a faded filter over the band members, there were also sets when it would be raised up, removed to create a three-dimensional effect with the depth of the screen in the background. 

If I were to pick the most impactful scene among the songs performed on both days as an example, it would be the second song they performed, BABEL, which has a story which pulls you in its euphoria and deep heavy groove. The Tower of Babel was shown against a bright red background on the screen behind, while the screen in front which previously concealed the band slowly rose up as if illustrating the disquieting building of the Tower of Babel.

What left a truly strong impression on me was the performance of Aikawarazu no `Are’ no Katamari ga Nosabaru Hedo no Soko no Fukidamari (2022MIX) around the middle of the show that had a languid jungle beat and saw Imai Hisashi (on guitar) taking on the role of lead singer. The sight of Sakurai Atsushi’s (singer) face on the back screen coalescing with the numerous writhing hands on the bright red screen towards the front of the stage inspired the same creepiness you would get in a horror movie.  

During the mid-tempo Guernica no Yoru which tells of the tragedies of war, we saw an amusement park under the stars, crumbling with the passage of time. At Aku no Hana during the encore, red, blue and green lasers were shot from the stage into the audience. During Yume Miru Uchuu in the second encore, the screen in front of the stage rose almost to the ceiling to combine with the back screen and create what felt like the endless void of outer space.

The visuals and lighting used to further develop the world of the songs sometimes drowned out or silhouetted the members, and if one were to say that live performances are about enjoying the playing style and facial expressions live, then this choice of production might have seemed rather bold. But when we consider the fact that BUCK-TICK made their video debut 35 years ago as “visual artists”, one can also say that this time, they were being conscious of their “origins” on stage.

And the second special characteristic was how the set list wasn’t comprehensive of their 35-year career or brimming with a festive mood even though these concerts were in celebration of their 35th anniversary. 

This year, the first show was named “FLY SIDE” and the second was named “HIGH SIDE”, just like their shows at Odaiba in 2017. But while the Odaiba setlist looked back over their 30 years with a collection of songs that covers a relatively complete range of eras, from the indie era and early numbers such as Fly High, this year’s set list seemed to focus on where the band is now and where they’re headed towards in the future while incorporating the messages they want to convey at this point in time. 

That said, BUCK-TICK thus far tends to decide on their set list based on the songs that each band member suggests. But the set list this time around appears to centre around CATALOGUE THE BEST 35th anniv., their best-of album collection that was recently released on 21 September.

They also appear to have worked with the stage production team to focus it all around Sakurai too. As a result, the show’s content was saturated with his message. Which was especially conspicuous when they performed Rakuen, REVOLVER, Guernica no Yoru and, live for the first time, their new song Sayonara Shelter on both days.

Shrouded in a black veil from his head, Sakurai sounded the tingsha in his hands during Rakuen’s cutting narration of a war-torn country looking upon a conflagration on the opposite shore as an opportunity.  During the highly aggressive and fast-paced REVOLVER, he puts his finger to his temple, shouting, “Shoot the child’s future!”¹. In the last part of Guernica no Yoru, a song where he sings from the perspective of a young protagonist about the devastation of air strikes, a brief respite came after he sang “After seeing such a dream, I woke up”². But brief it was, before they dove into a song inspired by the current state of the world, Sayonara Shelter which illustrates the madness of reality amidst a gentle melody.

Another thing I want to highlight is their performance of Kinjirareta Asobi -ADULT CHILDREN- on the first day. This song tells of traumatised grown-up children (adult children) who have closed themselves off going through the process of stepping outside and saying “I’m leaving of this room”³. During the performance, a large white wall appeared on the screen in front of the stage with a black, gaping exit painted right where Sakurai was standing and at the end of the song, Sakurai said, “This is dedicated to all the adult children.” All of it left a deep impression on me. 

It would appear that Sakurai, who channels his thoughts and feelings into stories and puts them into his lyrical world, was very determined to strongly lay bare his message through this set list. For his gaze was sharp, his singing was strong and powerful, and filled with compassion too.

Of the 21 songs performed on each of the two days, ten of them, or half were fixed songs but the eleven alternated songs added to the set list provided different sides of the band.

The first day started with the industrial-sounding EDM track ICONOCLASM. Hard hammer beats, edgy guitar riffs and a deep mechanical-sounding voice are unleashed with lasers from behind a screen that remains down in front of the stage. The glorious BABEL came next, followed by Uta which started with Yagami Toll’s (on drums) tight drum intro that led into a robust groove which then flowed into the melancholic Gekka Reijin

“Welcome. Do enjoy yourself,” was Sakurai’s short coquettish MC that served as a lead into Maimu Mime. In a video which moves from a street which looks like Jiufen, Taiwan to a close-up shot in a room, Sakurai makes use of his black wide-brimmed hat, a chair, and glimpses of his thighs as puts on a one-man performance of the bewitching games between men and women. 

During Kyoki no Dead Heat, which feels like running at hyper speed, cameramen with movie cameras went on stage to capture the aggressive members strutting up and down the stage extensions on both the left and right side. 

To close off the main set were three songs brimming with hope. Go-Go B-T TRAIN’s performance was spectacular with light shining on the large mirror balls on either side of the stage. The colourful graphics reminiscent of CD jackets, smoke billowing like steam from a steam locomotive, and a lively ensemble that nimbly runs through the heavy, creaking locomotive adds to the electricity in the arena. 

The stage lit up with flames for the next song, Memento Mori with tribal rhythms, Okinawan-sound scales, and shouts of “Wooha!” echoing. And finally, they ended with New World, leading us out of darkness and into a bright future.

The encore began with Django!!! -Genwaku no Django-. A rich groove was produced by Imai’s exotic guitar sounds coupled with Hoshino Hidehiko’s (on guitar) light acoustic guitar and the bass notes of Higuchi Yutaka (on bass), who came to the front of the stage during the bridge. As for Sakurai, he wore a silk hat on his head, had black feathers around his neck, and hot shorts and knee-high stockings, essentially dressing burlesque-style as he showed off his thighs and sways his hips as he sang.

Following the heaviness of Aku no Hana, Sakurai said, “Please have a listen to a nostalgic song from the album we debuted with 35 years ago.” With that, they proceeded into ILLUSION. The oldest of the songs performed over these two days, it evokes nostalgia with its lyrics that seem to bring up old memories.

In the second encore, they performed a graceful rendition of Koi, a requiem that combines fragility and strength. After that came Yume Miru Uchuu which was performed on a stage with the cosmos unfolding before it. Then, the big finale, Solaris. The macrocosmic cosmos and the microcosmic cells of a random person. The beautiful soundscapes created by the band and Sakurai’s enchanting falsetto, set to a moving visual image that evokes this connection, left a lasting impression.

Opening the second day the straight rock song Elise no Tame ni created a sense of unity from the start. The band was less tense with their singing and playing than the first day, and they looked relaxed on stage. With Sakurai’s slow swaying rope-crossing performance of TIGHT ROPE created a floating sensation, followed by the chunky bass riffs and the guitar’s rigid cutting in Mienai Mono wo Miyou to Suru Gokai  Subete Gokai da, and finally MOONLIGHT ESCAPE’s singing so carefree that it feels like we’re flying over the moon, there was even an emotional moment where we saw Imai strumming his guitar while lying on the floor in the outro.

Sakurai seemed to mimic David Bowie’s voice as he said, “Let’s Dance〜” before they dove into Dance Tengoku. Then, starting with an interlude from Imai’s guitar was BOY septem peccata mortalia where the members of the band were freely roaming all over the stage, being chased by the camera crew or staring into a camera while crawling on stage; so much was going on that we could barely keep up with our eyes.

The stage was set aglow by the flames in ROMANCE, where we got to hear Sakurai’s beautiful falsetto and after that, came the last song, same as the first day’s; New World. Powerful vocals pushed forward with clean-toned riffs that seemed to burst with light and the powerful 4/4 rhythm. It’s a song fit to end the set for these five who are taking a new step forward.

The first encore featured the newly remixed ANGELIC CONVERSATION (2022MIX) from their best-of album, Aku no Hana, and the dramatic pop ballad HEAVEN. In the second encore were the heartfelt ballad Boukyaku, Yume Miru Uchuu, and finally, Kodou (2022MIX). BUCK-TICK’s magnificent paean to humanity, dedicated to all life was sung in high spirits, bringing the two-day festivities to a close.

Despite celebrating their 35th anniversary on the big stage, BUCK-TICK had already entered a new phase. Furthermore, it looks like they’re already headed in a certain direction. 

“Since our 35th anniversary year has just begun, there’s a lot for us to do, and a lot for us to be happy about. After we’re done with today, Anii and Yuta will begin rehearsing for the tour tomorrow. And Imai-san and Hide will compose new songs. And I…… will sleep (smiles).”

While listening to this MC by Sakurai, I recalled a time in their early days of exhausting work where they were going on tour for their second album right after they concluded recording work for their third album. Finding out that there were some things that still haven’t changed since those days made me laugh a little. 

I’ve been hearing that the new release slated for the coming spring will be based on a new, never-before-seen concept. Expectations are high for the future of BUCK-TICK, who continues to avariciously evolve even past their 35th anniversary.

<Set List>

■BUCK-TICK 2022 “THE PARADE” ~35th anniversary~ FLY SIDE
Friday, 23 September 2022 | Yokohama Arena

SE. THEME OF B-T

M1. ICONOCLASM
M2. BABEL
M3. 唄 [Uta]
M4. 月下麗人 [Gekka Reijin]
M5. 舞夢マイム [Maimu Mime]
M6. 狂気のデッドヒート [Kyoki no Dead Heat]
M7. 禁じられた遊び -ADULT CHILDREN- [Kinjirareta Asobi -ADULT CHILDREN-]
M8. 相変わらずの「アレ」のカタマリがのさばる反吐の底の吹き溜まり (2022MIX)
[Aikawarazu no “Are” no Katamari ga Nosabaru Hedo no Soko no Fukidamari (2022MIX)]
M9. 楽園 [Rakuen]
M10. REVOLVER
M11. ゲルニカの夜 [Guernica no Yoru]
M12. さよならシェルター (新曲) [Sayonara Shelter (New song)]
M13. Go-Go B-T TRAIN
M14. Memento mori
M15. New World

EN1-1. Django!!!-眩惑のジャンゴ- [Django!!!-Genwaku no Django-]
EN1-2. 惡の華 [Aku no Hana]
EN1-3. ILLUSION

EN2-1. 恋 [Koi]
EN2-2. 夢見る宇宙 [Yume Miru Uchuu]
EN2-3. Solaris

 

■BUCK-TICK 2022 “THE PARADE” 〜35th anniversary〜 HIGH SIDE
Saturday, 24 September 2022 | Yokohama Arena

SE. THEME OF B-T

M1. エリーゼのために [Elise no Tame ni]
M2. BABEL
M3. Tight Rope
M4. 見えない物を見ようとする誤解 全て誤解だ [Mienai Mono wo Miyou to Suru Gokai  Subete Gokai da]
M5. MOONLIGHT ESCAPE
M6. ダンス天国 [Dance Tengoku]
M7. BOY septem peccata mortalia
M8. 相変わらずの「アレ」のカタマリがのさばる反吐の底の吹き溜まり (2022MIX)
[Aikawarazu no “Are” no Katamari ga Nosabaru Hedo no Soko no Fukidamari (2022MIX)]
M9. 楽園 [Rakuen]
M10. REVOLVER
M11. ゲルニカの夜 [Guernica no Yoru]
M12. さよならシェルター (新曲) [Sayonara Shelter (New song)]
M13. Go-Go B-T TRAIN
M14. ROMANCE
M15. New World

EN1-1. ANGELIC CONVERSATION (2022MIX)
EN1-2. 惡の華 [Aku no Hana]
EN1-3. HEAVEN

EN2-1. 忘却 [Boukyaku]
EN2-2. 夢見る宇宙 [Yume Miru Uchuu]
EN2-3. 鼓動 (2022MIX) [Kodou (2022MIX)]

 

 

 

 

Notes:

¹ あの子の未来を  撃て / Ano ko no mirai wo   ute

² そんな夢見て  目覚めた / Sonna yume mite   mezameta

³ この部屋を  出て行くよ / Kono heya wo   dete iku yo

 

 

Translation: Yoshiyuki
Source: Spice, JVC Music

 

 

BUCK-TICK Holds 35th Anniversary Concert
“We’re still moving forward. Wishing blessings upon everyone too.”

Sports Hochi
23 September 2022

 

 

 

5-piece rock band BUCK-TICK held their 35th major debut anniversary concert, The Parade on the 23rd at Yokohama Arena in Kanagawa.

They performed 21 songs like their signature Aku no Hana and for the first time, Sayonara Shelter, their new song that was included in their best-of collection CATALOGUE THE BEST 35th anniv. which was recently released on the 21st. They also mesmerised fans with light performances that made use of 12 laser machines, and a giant LED screen.

“We’ve been doing this for 35 years. I would like to express my gratitude to all of you; thank you. We have more new recordings too. We’re still moving forward. Wishing blessings upon everyone too,” thanked Sakurai Atsushi who wore beguiling outfits, like jet black shorts and black knee-high socks that show off his “absolute territory¹”.

They’ll perform on the 24th at the same venue too. They will then kick off their first national tour in 3 years on 13 October, starting with a show at Tachikawa Stage Garden in Tokyo to play a total off 21 shows in 20 locations. Sakurai rallied, “You all still can’t take your masks off and scream for us, but we hope you’ll come and join us on tour too in good health.”

 

 

Notes:

¹ Absolute Territory (絶対領域 / zettai ryouiki) describes the amount of bare thigh skin between the shorts or skirt and stockings or socks.

 

Translation: Yoshiyuki
Source: Sports Hochi

 

 

BUCK-TICK 35th Major Debut Anniversary Concert
Sakurai Atsushi: “We’re still going!!”

Sanspo
23 September 2022

 

 

 

5-piece rock band BUCK-TICK who celebrated the 35th anniversary of their major debut on the 21st of September has begun their two consecutive nights of concerts at Yokohama Arena in Yokohama’s Kohoku Ward to celebrate this milestone on the 23rd.

This is the 9th time they are performing at Yokohama Arena and 6 years since their last. With a 12,000-strong audience in attendance, they started off the show with ICONOCLASM from their album TABOO which became their first number one ranking album on the Oricon Chart in 1989. Vocalist Sakurai Atsushi (56) greeted the crowd with a, “Welcome. Do enjoy yourself,” turning them into a bubbling pot of excitement.

It has been 35 years since they debut in 1987. Their ingenious brand of music which blends a variety of genres started the “BUCK-TICK Phenomenon”, and these five long-standing members of the band have been at the forefront of Japan’s rock music scene with successes like performances at Nippon Budokan and Tokyo Dome in 1989 to back them.

On tonight’s stage, they performed 21 songs from their entire career’s discography including their signature song Aku no Hana, their first number one on the Oricon singles chart in 1990, and for the first time, Sayonara Shelter, their new song that was included in their best-of collection CATALOGUE THE BEST 35th anniv. which was recently released on the 21st. They also delighted fans with flashy performances that saw 12 laser machines, and giant LED screens and lighting.

Their concert DVD of last year-end’s Misemono-goya ga Kurete Kara~SHOW AFTER DARK~in Nippon Budokan was also released on the 21st. They will also be kicking off their first national tour (21-show run) in three years on 13 October.

Sakurai thanked the audience, saying, “We’ve been doing this for 35 years. I would like to express my gratitude to all of you; thank you.” Then, he declared, “We’ve got our tour in October, and another show tomorrow. There are still more new recordings to work on. We’re still going!!” Unstoppable is the momentum of legends who are celebrating their anniversary year.

 

 

Translation: Yoshiyuki
Source: Sanspo

 

 

Concert report of Yagami Toll’s (BUCK-TICK) star-studded 60th birthday celebration

OKMusic
20 August 2022

Text=Yuka Okubo
Photos=Seitaro Tanaka

 

The report covering Yagami Toll ~60th Birthday Live~ IT’S A NOW!2022, the birthday concert celebrating Yagami Toll’s 60th birthday which was held at CLUB CITTA’ Kawasaki in Kanagawa on Friday, 19 August 2022 has arrived.

While Yagami Toll is drummer to the band BUCK-TICK, who will be celebrating 35 years together with no change in member line up in September later this year, he also carries out solo activities under the name Yagami Toll & Blue Sky and has released an EP, WONDERFUL HOME -Thunder & Cold wind- in 2019.

This event was in celebration of Yagami Toll’s 60th birthday, and was held on 19 August, the actual day of his birthday. Apart from the Yagami Toll-led band, Yagami Toll & Blue Sky, there also were performances by BUCK-TICK and D’ERLANGER, and he also shared a stage with guest musicians like his close friend Miyako Keiichi from SOPHIA/Rayflower, drummer Minato Masafumi, Der Zibet’s ISSAY, his mentor-figure Takahashi Makoto, and singer Yoshida Minako whom Yagami has admired since childhood.

 

 

On 19 August, stalwart drummer Yagami Toll of the band BUCK-TICK, who will be celebrating their 35th anniversary in September, celebrated his 60th birthday at CLUB CITTA’ Kawasaki in Kanagawa with the show, Yagami Toll ~60th Birthday Live~IT’S A NOW!2022.

This birthday concert has become an annual event ever since the 2012 show at the very same CLUB CITTA’ Kawasaki celebrating his 50th birthday. Subsequent shows were held at Shimokitazawa’s live house with the Yagami Toll-led Yagami Toll & Blue Sky as the main act performing their original compositions and covering Yagami’s favourite songs. But this year, they decided to throw a big celebration for Yagami hitting the big 60 and had performances by BUCK-TICK, D’ERLANGER, and special guests like Miyako Keiichi (SOPHIA/Rayflower), Takahashi Makoto, Minato Masafumi and Yoshida Minako joining Yagami Toll & Blue Sky, as well as ISSAY (Der Zibet) taking part in BUCK-TICK’s set. 

During transitions between sets, congratulatory video messages from musicians of all genres of bands were shown too, a testament to just how large Yagami’s circle of friends is. Even the audience’s faces burst into smiles as they watched all the sincere comment videos from stand-out individuals and groups, like the 5 members of Kishidan exclaiming “We knew Anii would be a-okay even at 60!” together, Nishikawa Takanori, fellow Gunma-ite Kanagawa Macoto, his musician seniors Uchiumi Toshikatsu and Nakano Shigeru (亜無亜危異 / ANARCHY), his drummer senior Tsunoda☆Hiro, drummer junior Shinya of DIR EN GREY, Sakiyama Tatsuo from Spitz, and BRAHMAN’s RONZI, just to name a few.

Actor Kuroda Takaya was the backstage announcer for this event, calling in the first batter of the night, D’ERLANGER. As all four members faced each other, they kicked things off with BABY. And Angelic Poetry followed, flaunting the way each and every note could be heard clearly while coming together in the satisfying explosive sound that is unique to D’ERLANGER. Waves alternating between quiet and intensity came and went in Romeo&Juliet, and after performing their hit songs LULLABY and CRAZY4YOU, drummer Tetsu who is Yagami’s close friend said, “I’m glad that we can throw a grand celebration for you in such a large venue today. May our friendship continue into tomorrow, and the day after, and even longer!” 

Singer kyo then said, “To commemorate this day, we’ll be performing a song that everyone is familiar with.” Following that, they performed Oh! My God!; a rock’n’roll song from Yagami Toll & Blue Sky’s discography with lyrics written by Yagami himself. It was a surprise for Yagami too, and when the excitement in the hall was at its peak, the band performed SADISTIC EMOTION, a fiery song that perfectly led back to what kyo said in his very first MC: “Do allow me to properly warm up the stage.” And with that, they departed from the stage.

Up next was Yagami Toll & Blue Sky. The drum stand on the stage took on a special look with a display covered in deep red roses. Once Yagami, Harada Kenta (guitar & vocals), KANAME (bass & vocals), Yagi Masato (guitar), and Miyako Keiichi (keyboard) took the stage wearing red t-shirts, they started their session with the instrumental track WONDERFUL HOME -Thunder & Cold wind-. After drawing the audience in with the mellow performance, they got the crowd going with upbeat rock ‘n roll songs SODA ROCK!! and ROCK’N ROLL STAR.

There’s one more person who is integral to these IT’S A NOW! birthday events and that is SHIME, who passed away in March this year. As a tribute to his memory, they covered SHIME’s own song, Top of The Mountain Bar. Footage of SHIME performing with the band was shown on screen, and at times, Yagami could be seen watching it as he drummed.

Next came a twin drums session where they were joined by guest drummer Minato Masafumi in performing CAROL’s Funky Monkey Baby and Good Old Rock’n’Roll, and then by Takahashi Makoto in their performance of Larry Williams’ SLOW DOWN which The Beatles once covered, and BOØWY’s DREAMIN’. Then, Yoshida Minako, who Yagami has professed to being a huge fan of, joined them on stage for a heartfelt rendition of Yagami’s song requests, Toki yo and Yume de Aetara

While still immersed in the afterglow of her groovy singing, Yagami’s biological younger brother, Higuchi Yutaka (bassist/BUCK-TICK) brought cake onto the stage with Tetsu (D’ERLANGER) who carried a large bouquet. All at once, the hall switched into a festive mood. With the celebratory mood in the air, the band then closed off their set with the mid-tempo Blow Wind, the one and only song that the sharp-tongued SHIME ever praised.

SE THEME OF B-T resounded through the hall as the final act of the night, BUCK-TICK took the stage. We departed from the lull with Go-Go B-T TRAIN, the up-tempo number that was a combination of speed and force. With a whine from guitarist Imai Hisashi’s instrument imitating the pressure of steam blowing out, Higuchi rocked backwards, lifting the neck of his bass guitar up high. Guitarist Hoshino Hidehiko’s strumming was sharp and cutting too as the band went in hard and heavy from their very first song.

Vocalist Sakurai Atsushi causally introduced the band as, “Yagami Toll and his trusted associates,” and then continued his MC with, “I’m straying into personal matters on this happy day, but I fell sick with COVID-19 despite everyone’s cautioning to be careful. Zero powers of persuasion there.” 

This day marks the very first show that Sakurai is having after his falling ill and recupertion last month. But not even a shred of evidence of that was left in his powerful yet delicate voice as the band went on to perform GUSTAVE and then, Baby, I want you.

“Let’s call on our lovely guest,” Sakurai said before singing, ♪‘Radio kara no Transmission〜’ from Der Zibet’s Shizumitai. A delightful scene followed when ISSAY came on stage singing the next part of the song. Then, Sakurai and ISSAY dueted in their first performance of Itoshi no Rock Star together after close to 27 years.

Following the emotional Koi and everyone throwing up peace signs in Eureka,  Sakurai began a humorous introduction with, “This [next one] is on request by our Anii-san from Tokyo.”

Yagami then announced, “We’ll be performing the title track from our debut album!” which led into their last song for the night, SEXUAL×××××!. Just as they jumped into the intro to Yagami’s count, red and silver streamers flew into the air and the audience went wild from this surprise that felt like a return gift from Yagami; a fitting, euphoric end to the night.

After the performance concluded, Yagami remained on stage to tell the audience, “Thank you for coming to celebrate my 60th birthday today.” And finally, to the rest of his bandmates who will in turn hit 60 in future, he added, “I hope we’ll be able [to celebrate like this] three and four years later too.”

The audience gave a rousing applause throughout the performance, and showered love on Yagami, the star of the evening from start to end. The hairstyle that he has kept upright throughout BUCK-TICK’s 35 years of activities is like a symbol of the determination he has had since day one and his love for the fans.

What especially struck me was how quickly they changed the angles of the cymbals for Yagami Toll & Blue Sky’s set. As the drum stand was higher up than usual, the audience wouldn’t be able to see Yagami from where they stood if the cymbals were set at certain angles. For this reason, the cymbals were almost horizontal. Such attention to detail is probably one of the reasons he is so loved by many. I hope that to continue seeing his reliable self as the supporting backbone of BUCK-TICK not just three or four years from now, but far into the future too.

 

<Set List>

■D’ERLANGER

  1. BABY
  2. Angelic Poetry
  3. Romeo & Juliet
  4. LULLABY
  5. CRAZY4YOU
  6. Oh! My God! (Yagami Toll & Blue Sky cover)
  7. SADISTIC EMOTION

■Yagami Toll & Blue Sky

  1. Mandom—Lovers Of The World
  2. WONDERFUL HOME -Thunder & Cold wind- / with Miyako Keiichi
  3. SODA ROCK!! / with Miyako Keiichi
  4. Fire Girl / with Miyako Keiichi
  5. ROCK’N ROLL STAR / with Miyako Keiichi
  6. Oh! My God! / with Miyako Keiichi
  7. Top Of The Mountain Bar (SHIME cover) / with Miyako Keiichi
  8. Funky Monkey Baby (CAROL cover) / with Minato Masafumi
  9. Good Old Rock’n’Roll (CAROL cover) / with Minato Masafumi
  10. Slow Down (THE BEATLES cover) / with Takahashi Makoto
  11. DREAMIN’ (BOØWY cover) / with Takahashi Makoto
  12. 時よ [Toki yo] / with Miyako Keiichi & Yoshida Minako
  13. 夢で逢えたら [Yume de Aetara] / with Miyako Keiichi & Yoshida Minako
  14. Blow wind  / with Miyako Keiichi

■BUCK-TICK

  1. THEME OF B-T
  2. Go-Go B-T TRAIN
  3. GUSTAVE
  4. Baby, I want you.
  5. 愛しのロック・スター [Itoshi no Rock Star] / with ISSAY
  6. 恋 [Koi]
  7. ユリイカ [Eureka]
  8. SEXUAL×××××!

 

 

 

 

 

 

 

Translation: Yoshiyuki
Source: OKMusic, Lingua Sounda