Tag: Translations

BUCK-TICK | [Jan 2004] Gensou no Hana – Interview with Sakurai Atsushi

Posted on by Yoshiyuki

Gensou no Hana

Ongaku to Hito #116
January 2004

Text by Kanemitsu Hirofumi
Photographs by Iwane Ai
Hair & Make-up by Araki Hisako
Styling by Yagi Tomoharu
costume. FAUST

 

「Illusory flower, sing for me   Tell me that this world is beautiful」

BUCK-TICK’s latest release is a beautiful ballad that begins with these words
War, cruelty…… It is all going from bad to worse. That we’re living in such a tainted era is why this song and this voice seems to cascade throughout the world, cleansing it. Yet at the same time, it’s not overly graphic. This is a song that possesses a nature different from what they have produced thus far. And that is largely due to vocalist Sakurai Atsushi’s perceptions.
18 years after their debut comes a breath of fresh air into this band. This, we will affirm with his words.

 

[It will] surely bloom

Isn’t there a lot of unfinished work that needs to be done in the world today if someone like me is spreading things like tomorrows and hope?

 

―― So, this new song, Gensou no Hana is a song that you’ve had around since the release of Kyokutou I LOVE YOU two years ago.

Sakurai (S): Yeah, that’s right. We’ve kept this pot boiling for quite a long time, though.

―― Right (smiles).

S: This song was written 2 years ago with the intention of creating an opposite of Kyokutou Yori Ai wo Komete. As a candidate for a single though, at the time, this was just one of a few other songs that we had. Back then, we felt that we needed a stronger song to be the single, so we chose Kyokutou～. At the time, I thought it would be a good idea to include it in the album too, but Hoshino (Hidehiko, guitarist. Composer of Gensou no Hana) said that he wanted to release it as a single no matter what. He had an unusually strong resolve regarding this.

―― Hahahahaha.

S: It was strong (smiles).

―― Oh, really?

S: Yeah. Then, for our previous album Mona Lisa OVERDRIVE, I thought that maybe we should include it there, but this time, the objection came from Imai (Hisashi, guitarist) instead.

―― You must’ve been sad.

S: A bit (smiles). Well, considering that album’s characteristics, he had a point, though. But, I also wanted to release it as a new song within this year, and now that we’ve all got this tension in us with these circumstances¹ we’ve found ourselves in, I suppose it all worked out well.

―― You mentioned that it was intended to be the opposite, but Kyokutou Yori Ai wo Komete had exceptionally strong emotions which confronted the devastating impact and upheaval which resulted from the events of 9.11, right?

S: That’s right. It was largely composed with the raw emotions which were felt when scenes of the terrorist attacks which happened back then was broadcast on TV.

―― So what’s the opposite feeling to that?

S: Like, after a festival or…… I probably shouldn’t use a festival as a metaphor for war but [it’s that feeling] you get after everything is gone and you’re wondering, “So, now, what am I supposed to think?”.

―― So, using an extreme example, it’s a question of whether you’ll be in despair or whether hope will kindle in your heart after everything has been turned to dust.

S: Yeah. The kind of to and fro between hope and despair for these people who have lost their homes and their families―― like, “Isn’t dreaming of tomorrow pure nonsense?” or, “No, isn’t this precisely why tomorrow will bring happiness and peace?”. That’s what I thought of. So, we won’t have an answer to this in the end, but time goes on and the song will end in one of either direction. Without actually coming to a definite conclusion. Although I think I’m just a little more inclined to lean towards hope.

―― I see.

S: It’s like…… I’ve always been keeping a good balance of that within myself. Because I felt that it wouldn’t be real otherwise. Sadness and joy, good and evil, I believe that they will always co-exist. I think I’ve portrayed it in an extremely simple way. But in the end, I guess what I’ve been thinking about in these past 2 years have jumped over all of that and it’s now come out in words and sound…… At least, that’s what I’ve realised. To that extent, I suppose 2003 was a year when I felt these external influences on the inside.

―― And that’s rare for Sakurai-san, isn’t it?

S: Yeah.

―― How did you feel about being subjected to that yourself? Take war, for example; it’s something that comes about because both sides have differing perceptions of justice, though.

S: Ahh…… That’s true, but I guess you could say this is on a more personal level with no relation to the causes of either side. However, I do think that nothing can come out of a place of mutual hatred, so…… Mm… It’s difficult. Living in such times, I don’t really want to do sloven songs that spew out things like, “It doesn’t matter if tomorrow doesn’t come.” But songs that shine with nothing but hope with no plausible reason definitely don’t feel right either. I get the feeling that this contradiction is something that has been developing in my head along with the passage of time.

―― But in the first place, Sakurai-san’s own sense of impermanence is……

S: ………… A weakness.

―― Right (smiles). Though I do think you’ve got a lot of lyrics that are steeped in self-loathing, that cut into yourself. Having done that all this while, is putting out something which gives a decided sense of hope a sort of retaliation against this reality?

S: I suppose that might be it. In the end, I can only say this is what happens after I’ve simplified and digested whatever catches my eye, though.

―― So, what catches your eye?

S: Well, it’s simple, but it’s the happenings in Japan or the world and things like that. War, cruelty…… Doesn’t it feel like we’re hearing about these things almost everyday? On the other hand, doesn’t it mean that…… there’s a lot of unfinished work that needs to be done in the world today if someone like me is singing a song about tomorrows and hope?

―― Unsettling news and things like that often become overwhelming, doesn’t it? But that said, I think we shouldn’t block it out entirely either.

S: Yeah. If the ordinary world is filled with hope without the need for anyone to do anything, turning your heart upside down to reveal despair and vent the negative out will turn into a sort of stimulation, like a driving force. And actually, I think that has always been a big part of me until now.

―― It was.

S: I guess you could say that this is the only time when I couldn’t do something along the lines of rubbing salt into a wound. It would be great if it was completed in the music, but no matter what, even if it was not shown upfront, when someone was made to see something like that, they’d definitely run in the opposite direction, right? It’s not that I’m trying to play nice, but if everyday life was so full of such misery, I’d want to find balance rather than pick up the slack [for misery]. Where there is hope, there is also despair. So to speak. I understand that this doesn’t have a perfect answer. It’s okay. Things like, “Tomorrow will surely be great[, so don’t be sad].” I can’t find it in myself to say such irresponsible things, but that said, I also don’t think it’s right to say things like, “Tomorrow won’t have any good. I don’t know whether I’ll still be alive tomorrow.” And I don’t think that anything will change just because I’m the one saying it. But at the very least, right now, what I want to say is, “It’ll be alright.” Because even if it comes across as irresponsible, some part of me strongly believes in this.

―― So how do you think this voice of yours comes across?

S: Mm… Maybe it’d be taken as “bittersweet” or even “lip service” but that’s alright. Although, I do also expect that there will be people who will listen to such a song in a pure and honest manner, without any negativity.

―― People, or rather, this world that we live in.

S: You’re right.

―― But I feel that the image of “flowers = peace” that is present in the lyrics to this song was conveyed in a straightforward manner.

S: Mhm. It might be vague, but I think it’d be good if something like that can gradually come to our listeners.

―― Although, it’s very sad that we live in a world where we have to label that as an illusion.

S: Isn’t it?…… And that’s precisely why these days, I’ve come to feel that the moments when I face the mic during recording, when I’m doing my work are very precious. I’d think, “We can’t just flush it all down the drain.”

―― More than ever before?

S: That’s right. So, among all of this, instruments are, of course, played by people so it possess energy as well and I believe that plays a big part in the conveyance too, but I think when it comes to the natural voice, it would definitely be useless if the singer’s emotions are dead because that’s what [gives the singer] the ability to breathe a kind of soul into [the music]. Also, I think perhaps I can express my thoughts honestly too because I myself have been inspired by such an honest song. Without thinking too much about things like how people would view us or what kind of reaction we’d get after we release it.

―― Thanks to the oblivious Hoshino melody.

S: Hahahaha. I think I was greatly inspired by that too.

 

There are many instances when I’d think, “I suppose it can’t be helped.”
However, I can’t quite get rid of that feeling of, “But, you know…”

―― So, in a nutshell, can we say that Sakurai-san’s colours shone strongly in Kyokutou I LOVE YOU while in Mona Lisa OVERDRIVE, it was Imai-san’s colours which came through?

S: That’s right. I believe that’s the impression someone would get if they were to listen to them for the first time with nothing but a vague idea. And the former has a sticky, or rather, humid feeling. While the latter is becoming, crisp…… That’s the kind of impression it gives. So during Kyokutou～, I felt as if I’m snugly fitting myself into that world, but during Mona Lisa～,  in a good way, it felt a little bit like I was singing because that was asked of me. I felt it quite starkly too.

―― It might be a little belated to say this, but has your worldview grown clearer following that?

S: Well, I wonder…… But there’s a lot that I can’t really think about until I’m actually standing at the starting line, though.

―― Starting line?

S: Like trying to do it on my own, or something. That’s the kind of situation I need to be in. Besides, no matter how hard I try, the only way I can see that happening is when I’m in a band. But I think if I really force it, I can extend myself beyond that. Even if I were to work with other people, I believe I’d most likely consciously keep in mind to write lyrics that are more straightforward.

―― Like the things you want to see, the things you don’t want to see.

S: But I haven’t felt like that recently. Instead, I really [feel that I] have one or two, or at times, even three or four things that I can do, or that I can put my all in. That’s why I don’t want to do anything that’s just going to be a waste of effort anymore. Or rather than calling it a waste, it’s more like things that are impossible for me to do. This is something that is now clear to me. That’s why I feel that no matter what we’re going to do next, I want to express myself properly. I’m interested to see what kind of person I’d be able to see from myself, though.

―― You’re looking to skip the detours.

S: Yeah. I’m already at the age where I don’t have all that much time left to waste anyway (smiles).

―― Hahahaha. So, this is a slight change of topic, but what kind of image do you have of flowers?

S: Strength and…… There’s also vulnerability, and vitality, you know? Not only do they look beautiful…… They’re like the essence of enlightenment². It can be found in both men and women but I guess, you could say that more of it is aligned with feminine strength in terms of percentage (smiles). That’s the kind of image I have in mind.

―― Like kindness, or a desire to be enveloped. I suppose it’s like a symbol of sorts.

S: A symbol is a symbol, but I suppose it’s the innocent purity in it. Because it has grown and matured without knowing what’s going on in the world, I’d say that it is innocence, strength, and vulnerability. Even if we leave it alone, it has the strength to even break and grow through asphalt. At the same time, while it is vulnerable to being trampled upon, it will still have the strength to sprout again.

―― Actually, when I heard this song, COSMOS (← title track from their 6th album) came to mind.

S: Ahh.

―― COSMOS sounds like a song that’s telling a new life, “Welcome to this beautiful world,” but like its title, Gensou no Hana (Illusory Flower) appears to start from a point where the world is already in despair.

S: There’s a sense of things lying in ruin, isn’t there? In this song.

―― What do you think about people fighting among each other?

S: Mm…… I think it can’t be helped. There’s nothing that can be done but…… Isn’t it strange? There are also people who get money from making guns, bullets, missiles, but these people who make these killing tools have families and children too, don’t they? I want them to just think [about what’s happening], but there’s the possibility that all they’ll say is, “But, I suppose it can’t be helped,” even if they do think about it, right? But, recently, I hesitate when I’m throwing things away too, though.

―― Hm?

S: Recently, I was sorting out clothes that I’m not wearing anymore and things like that. I thought it’d be good to bring those to the UN. Really.

―― Did you throw them away in the end?

S: More than half was thrown away, and only some were recycled, though.

―― Well, it feels like there isn’t much you can do about it, but at the same time, you’d also think, “But, you know…”.

S: I can’t quite get rid of that feeling of, “But, you know…”. It’s beyond reason. It makes me wonder what’s wrong with me, being this man who can’t even control that one single emotion, but…… I do feel like that.

―― The feeling that you can’t control it?

S: Yeah. Even though I’m at this age. I suppose, putting it nicely, you’d say that I’m “overflowing with human kindness”, but on the other hand, you could also say that I’m “childish”. Hm, how should I say this…… Narrow-minded, aren’t I?

―― I don’t think so at all.

S: Well, then I guess we’ll just consider that true (smiles).

―― What kind of person do you want to become?

S: Well, I don’t know.

―― Hahaha…… Do you have anyone you consider as an ideal?

S: Nope, I don’t. Although, I can name quite a few people if we’re talking about the superficial. But if you asked, “What kind of inner qualities?”, I’d be stumped, but it’s not as if I knew what kind of person I wanted to become in the first place. Although, I do want to be a slightly calmer person.

―― You’re considerably calm during interviews, though (smiles).

S: Why is it, though? I’m perplexed that I don’t know why.

―― Well, I don’t know either, but do you get the feeling that you don’t like the person that you are now?

S: There are parts that I don’t like, for sure. I think just about everyone will have those negative feelings, although, if a person doesn’t have those feelings, I think they’d turn into a rather weird person, you know (smiles). Sort of like, lacking a certain set of emotions. But as to my own negative feelings, I still don’t like them after all.

―― But that part of you has been the motif for your songs thus far, right?

S: Well, that’s true. Since there are far more narratives which start from negativity after all.

―― You’ve said that you don’t want to be pretentious, but do you think that being able to express such positivity or hope in a song has brought about some sort of change within yourself?

S: Yeah, you’re right, in the end, it comes back to me, doesn’t it? Saying it’s useless to just do nothing and feel sorry for myself…… I do get that, in recent days. The idea that it’s foolish to let things end like this. Like, nothing is going to start like this yet, what if I end up infecting people with this [mentality]? What am I going to do then?

―― I wonder what causes this.

S: Ah, well, I don’t know. I’m just saying that I’d think like that and become like that too. But as to why I’d think like that, it’s kind of hard for me to say. Well, it might be because I do socialise with people, although rarely.

―― So, like, something which comes out of socialising?

S: Something which comes out of that is…… feelings, isn’t it? It’s hard to put into words, though. When I come to realise other people’s opinions, I’d get this moment of, “Ah, so I see.” Even since I was young, I’ve always had this idea that everything revolves around me, but I think I was finally able to break that down and accept [others’ opinions]. I probably won’t be able to accept every single thing, but I’ve come to get the sense of, “Ah, so I see,” more often.

―― So, I take it you were quite self-centered in the past?

S: Everyone sees themselves as the protagonist after all, don’t they? In their heads.

―― That the world revolves around you.

S: Mhm, that’s what I thought when I was in elementary school or something.

―― And you gradually realised that it wasn’t true.

S: But to a person, I think that it’s only natural they think of themselves as the center of the world, you know?

―― But lately, you’ve started to get a sense of others’ opinions.

S: More specifically, it’s only recently that I’ve grown to be able to say that. Because depending on the person, the ‘stranger’ can very well be themselves.

―― Like a mirror?

S: Uh-huh. But, well, even if I understand this, I’d still end up thinking about myself no matter what, right? I’ve come to empathise with the opinions of others but I can’t possibly accept everything. I think that’s the reason why people fight and hurt each other, but at the same time, I’d want them to at least try and understand each other.

―― I feel that these thoughts of yours can be felt in this song too. Benevolence (jiai, 慈愛) or something.

S: …… Is that “jiai” the word that starts with the “ji (慈)” from Jikei University Hospital (慈恵大病院)?   Or is it the one that starts with “ji (自)” from “oneself (自ら, mizukara)”?

―― The Jikei Hospital one (smiles).

S: Understood (smiles).

―― It’s probably strange to call it being strict with yourself, but I thought that imposing it on yourself this much might make you sound stoic even in song.

S: No, but hearing you say that is quite a relief, though…… Or perhaps I’m only thinking about my own love, you know?

―― But don’t you think that on the contrary, it’s because you’re thinking about this that benevolence comes through when you sing?

S: That could be it. It’s not just me, but I suppose I have to face myself even if I don’t want to. Those who keep saying that they hate themselves only say that because they actually care and like themselves, right? And the next and only step we can take from there is to love ourselves…… because we can’t let ourselves get admitted into Jikei Hospital (smiles).

―― So I guess you’re going to try and love yourself who you hated so much.

S: That’s what I’m hoping for (smiles).

―― But don’t you think that the emotions that you’ve been killing have come alive in your music now that you’ve created a worldview like Gensou no Hana’s?

S: Yeah. You’re right…… This might be taken negatively, but I’m struggling and trying to take a step forward towards somewhere, but I might’ve ended up going backwards or drifting sideways instead. It may be easy if I’m made to do the same things but I suppose you could say I’m struggling. But that’s just me, and I guess I just want to do things like a spoilt brat, you know? Besides, I’ve got no intention whatsoever to simply play a role. Perhaps that’s how I’m trying to find myself now.

 

 

 

 

 

Notes:

¹ I’m assuming this is in reference to the spate of terrorist attacks during those years. Not sure if they’re talking about a particular event.

² The word for this phrase is actually 菩薩 (bosatsu), which directly translates to “Bodhisattva”. Bodhisattva comes from Buddhism and it refers to any person who is on the path towards Buddhahood, or anyone who has made a resolution to become a Buddha and has also received a confirmation or prediction from a living Buddha that this will be so. In Mahayana Buddhism, this is defined as a person who is able to reach nirvana but delays doing so through compassion for suffering beings. The translation I’ve gone with is actually the definition of its original Sanskrit text, where Bodhisattva is a word derived from bodhi (enlightenment) and sattva (essence) to mean, “one whose essence is enlightenment”.

 

 

 

Translation: Yoshiyuki
Scans: Tigerpal on LJ

 

BUCK-TICK | [Mar 2003] Mona Lisa OVERDRIVE feature

Posted on by Yoshiyuki

Mona Lisa OVERDRIVE

Pati-Pati
March 2003

Photography: Ooyama Kenji
Text: Takeichi Hisako
Hair/makeup: Inoue Miyuki (salon コーシュカ)
Styling: Yagi Tomoharu

 

BUCK-TICK is releasing their new album Mona Lisa OVERDRIVE on February 13th. In this issue, Sakurai Atsushi and Imai Hisashi will talk about this work, made up of a complex mix of aggression and security which expands on a new world of BUCK-TICK’s, and their upcoming album tour which commences in March!

 

 

 

Into an Uknown World

This is a work of aggression and security intertwined. Built on the worldview which was uncovered in these interviews with Sakurai and Imai, we take a closer look at the album, Mona Lisa OVERDRIVE and what the tour will have in store for us!

 

To feel a world where their intensity and tenderness coexist

BUCK-TICK, who has been active with the same band members since their debut in 1987 are now in their 16th year together. Despite having worked together for 16 years, there is not even the slightest inkling that their sound is at risk of becoming monotonous. They are not bound by the word “musicality”, and at times, their range [of music] is so wide that they can shock people into wondering whether their works are truly products of the same band.

At the same time, both their music and their lyrics hint at the mutual acknowledgement and respect that the band members have for each other. There is no doubt that this band is one which continues to evolve while maintaining the same, unchanging intensity and it is this which attracts the audience who support them.

In fact, another one of BUCK-TICK’s appeals, a world where intensity and tenderness coexist can be felt in their upcoming album Mona Lisa OVERDRIVE which is releasing on February 13. If we were to describe the previous album, Kyokutou I LOVE YOU as “introverted”, then it can be said that this album was created to be it’s opposite; extroverted. Picking up from the last song in Kyokutou~, Continue, the first song in the new album, Nakayubi appears to be the representation of the whole album with its hostile attacks from the get-go.

Although it is a fitting opening to an album that is said to be built around aggression, it appears that the band had never intended to create something so highly aggressive from the start. Looking back, it was the release of their Zangai single in January that led to the creation of what would be the heart of this album and on this base, they gradually built its framework up. Nevertheless, because it is such a highly conceptual work, I wanted to do my own analysis of the album title’s relevance to the concept.

The title Mona Lisa OVERDRIVE is a reference to one of the science fiction novels published by William Gibson in 1988, but there is no connection between this work and this album. However, rather than “the connection between this album and the novel”, I personally strongly felt the connection between “BUCK-TICK the band and cyberpunk” again. Cyberpunk itself is a coined word where the word “cyber” here refers to robots (or cyborgs) and futuristic elements, while “punk” employs the aggressive image of hoodlums and radicalism. In other words, if we were to describe “cyberpunk” in one statement, it would be a futuristic science fiction with a degenerate worldview revolving around the relationship between machines (the future) and humans. 

What I heard this time around was a techo-styled sound which used computer beats to leave an impression of cyber-ness and aggressive intense sounds, the “unique BUCK-TICK sound” of a languorous murky underground tang, and the pleasant comfort of Sakurai’s vocal skills which are entangled in all of this. At first I listened to the lyrics as if they were completely integrated into the sound, so I didn’t have the chance to analyse the meaning of the lyrics in depth, but after my interview with them, my attention was turned to the world of the lyrics they have written, and I found that there is a rather cynical air lyrically.

I felt it especially in Sid Vicious ON THE BEACH. Just like how Sid Vicious is an obvious “symbol of youth”, is the “BEACH” in reference to how it’s a place where people can let loose?   Yet behind the free-spirited imagery and optimistic melodies, scenes akin to a war game, of human lives disappearing in the fires of war emerge…… It doesn’t only apply to this song. I think these elements were already present in their previous works, but ever since their last album, Kyokutou～, they have grown even stronger.

In fact, they happened to be right in the midst of producing Kyokutou～, which was released last March, when the shock of the terrible terrorist attacks of September 11th left a profound effect on their work. Evidence of this is painfully apparent in the lyrics Sakurai wrote for Zangai and the lyrics of GIRL, its B-side. “Like the late summer sky…… (first line of GIRL)”, it felt as if I was watching a sci-fi movie with this perfect description of the skies at the end of summer. That sky on September 11……

The “epic battle in a big universe” and the small but deep and strong love between “me and you” that I felt from this album were not only the impressions of the music, but also the underlying feelings of the band. With the memory of terrorism fading every day, they seem to have closed the album with Continuous, as if to say that it is not something to be forgotten. Warm and enveloping, the song conjures up images of airships slowly making their way through an endless galaxy, or a foetus in the womb. In a degenerate and violent world hidden behind the peace they feel, how do they overcome difficulties and keep going with that small spark of happiness in their hearts? I believe that is where their very essence can be found. Perhaps they are singing about the contradictions of everyday life in a world where the world of cyberpunk is already becoming harder to imagine as the future. Could this be what Imai meant when he applied the word “contradiction” to “〇〇 marks the headstones of our lives”?

In March, the band will start a tour in conjunction with their album release, and given the aggressive nature of the music, this one will be more naturalistic and live with the kick of the music conveyed directly to the audience rather than through imagery unlike the previous tour which was more visual. So, by all means, please do attend the tour to witness this constantly evolving BUCK-TICK with their unshakeable core and imprint them in your memory.

 

 

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_______________________

Sakurai Atsushi

This album was made by following what we felt [was right]

―― I thought that your December 29 live show at Budokan, which was also your final show for the year to round off 2002, was a show that truly encompassed BUCK-TICK’s past 15 years of activities.

Sakurai (S): That’s true. That event was also a one-day, standalone show which is focused on performing the songs that fans say they want to hear in the after-show surveys we do, and also songs that the band members want to play.

―― The first and second song performed actually came from your very first album, SEXUALXXXXX! too. What do you think is BUCK-TICK’s appeal from the audience’s point of view?

S: I suppose, among those who love us, whether man or woman, they probably share our love for melodies. And in addition to liking our songs, I believe they enjoy our live performances a lot too. For us, we place a lot of importance on our live performances too, and although I think that sometimes there are certain imperceivable areas because we over-pursue the dark and unsettling, I feel like [our fans] let themselves melt into the atmosphere of the songs when they listen to them. Because even if [the topics] aren’t generally acceptable ones, we still do it because we believe in it and feel that it’d be cool. I don’t believe that something we’re going to change either, so I guess that might be what appeals to those who have been listening to our music all this while.

―― Actually, personally, this was the first time I got to watch a BUCK-TICK live and I was sort of surprised by the way everyone watched the show by surrendering their bodies to the music instead of violently crashing into each other. During the “WARP DAYS”  tour for your last album, Kyokutou I LOVE YOU, you even held a performance in a dance hall at Okinawa and hearing about it made me wonder whether such a place was even suitable for a band to play in.

S: Ah, yes, that. We’ve been performing in dance halls since before our debut, so on the contrary, there’s actually some part of it that makes it easier for us to perform in such venues. Somehow, maybe something still doesn’t feel quite right when we perform in halls with designated seating, but I guess we’re not very good at performing in these venues where the typically-Japanese kind of good manners is expected (smiles). After all, live houses are where I enjoy [performing in] more because I get to feel like I’m closer to everyone. Although, for Kyokutou~’s tour, we performed both in halls and live houses, yet even in the halls, it felt as if the audience was very close to us. In some places, there were even those who would shake off security in the halls and come to the front, and although they’re actually not allowed to do that, it made me happy that they did it anyway, so this was a tour which really filled me with warm feelings.

―― I see. By the way, I heard that this February 13’s release is a continuation of Kyokutou I LOVE YOU.

S: Yes. Originally, when we were working on Kyokutou I LOVE YOU, we wanted to release it as a 2-disc album. But we didn’t have the luxury of time and we didn’t really want to finish the album in a hurry, so we then decided that we should change our perspective a bit and produce two albums which reflect opposing ends of a spectrum. That’s why [this new release] starts off by carrying on from the last song of Kyokutou I LOVE YOU.

―― Mona Lisa OVERDRIVE itself doesn’t appear to have a concept, but since you’ve now said that it was made to be an album contrary to your last, doesn’t that mean that it doesn’t exactly have no overarching concept at all?

S: Mm～. It is indeed true that there’s a general concept of wanting it to be a contrary album in my head, but there was no firm concept in the sense of what we wanted it to sound like. It’s just that it gradually became more concrete as we were working on it.

―― Personally, when I was listening to this album, I felt both the colossal scale of fighting monsters in a vast universe and the presence of the truly miniscule yet deep, strong love between “you and I”. And that is what made me feel that this was a highly conceptual work.

S: (Grins).

―― Oh?   What is it?   That grin of yours (smiles).

S: That [visualisation] is exactly what it is (smiles). You’ve felt what we were aiming for. This is wonderful (smiles).

―― (Smiles). In your last album, Kyokutou～, there was intensity within an image of beauty, yet in this album, Mona Lisa～, there is tenderness in the midst of violence. At least, that’s the feeling I got.

S: Yes, I think that’s exactly how it is. I think it’d better to talk to Imai at length regarding how much consideration was put into the flow of the songs in comparison to Kyokutou～, but I was personally very inspired by the music that both Imai and Hide brought me and that’s why I wrote the lyrics this time around.

―― Imai-san wrote a lot of lyrics in this album, but did you face any difficulty with singing them considering the fact that they’re not your words?

S: I did, yes. But on the other hand, there are instances when it’s easier to sing too. Because lyrics written by me are the essence of my own emotions after all, so they’d become something that I’d want to pursue to the absolute limit. I’d end up hesitating and keep deliberating about whether there’s still any room for me to make them even more perfect even at the time of vocal recording. But Imai’s lyrics are not my feelings, so I can perform it perfectly. There may be difficulties in doing that, but on the other hand, it’s easy to sing because I’m performing a part. Even then, I felt that the song Sid Vicious ON THE BEACH from this album would turn out better if Imai sang it, so I left the whole song to him. When I listened to its final version, it definitely made me think, “Ah, it was the right choice to have Imai sing it.” And in that same sense, I feel that this album was made by following what we felt [was right]. I suppose, perhaps this sense of unity came about as a result of going along with what we felt [was right] and the emotional axis which resides in Imai.

―― I see. But when we focus closely on reading just the lyrics, Sakurai-san’s lyrics and Imai-san’s lyrics are each very unique from the other. They can be accepted as BUCK-TICK’s songs precisely because these words are riding on BUCK-TICK’s band sound, but generally speaking, I suppose we can just say that each has its own different feel to it, and particularly, Sakurai-san’s lyrics have a lot of realism in them and capture the listeners’ imaginations, and the sludgy parts appear to come to the fore as compared to Imai-san’s lyrics.

S: That’s true, and come to think of it, BLACK CHERRY from this album is somehow quite the viscid song, isn’t it (smiles). This song is a mid-tempo one which was composed by Hide, but right when I heard it, I wanted to make it feel murky so I started writing the lyrics.

―― You know, sometimes, there’s a shadiness in Sakurai-san’s lyrics that make me wonder what kind of romantic relationships Sakurai-san has. There’s a realistic sense to [your lyrics], but they’re not concrete. It’s a strange feeling.

S: Ahahaha. I’m really glad that you’ve projected yourself into the lyrics and had your imagination kindled while listening to the songs (smiles). It’s true that my lyrics aren’t very concrete, are they? But I don’t think that it’s necessary to put concrete expressions in my lyrics. Because I feel that [putting such] specific things in the song will become a huge distraction when you’re listening it, plus I would like the listener to, as much as possible, imagine the world that the lyrics portray. It would make me happy if [the listener] gets to experience an uplifting exuberance in the midst of that.

―― I see. Between Sakurai-san and Imai-san, are there specific differences that might be significant? Like differences in the kind of movies you like, and so on.

S: I wonder?   I don’t know what of movies Imai likes, but I don’t like movies with a happy ending. Because, you see, even if we definitely feel the same thing [from a piece of media], the way I express things and the words I use will bring about different nuances than what Imai would offer. But strangely enough, where our final conclusions end up within BUCK-TICK is never far from one another. In this album too, since I think the lyrics that Imai wrote are lyrics that I couldn’t possibly write, it’s fun when I sing them. It’s the same as when I’m watching a movie because I’m the type to become fully immersed in it to the extent where I turn into the protagonist too (smiles), so this time, I’m also singing by acting out the lyrics all the way (smiles).

―― (Smiles). By the way, in March, you’ll be going on tour for Mona Lisa OVERDRIVE so how are you feeling about that?

S: Whatever it is, I think it’d be great if both the band and the audience will make a flamboyant ruckus. Whether we’re playing in a hall or in a live house, I hope that this tour will be an even more exuberant tour than the last.

―― Is there a song in this album that you can’t wait to play live?

S: It’s definitely LIMBO. It’s a song that has a slightly religious groove to it and is easy for you to let your body move with the rhythm, so I hope that everyone will dance to it.

―― What’s a live show to Sakurai-san?

S: A place of self-discipline and release (smiles). Although I don’t have the intention to train or be self-disciplined, it’s so painful for some reason (smiles). I suppose it’s probably because it’s a time when I have to focus my energies because on normal days I live a very relaxed and carefree life, and during live shows, there are times when my nerves get all tensed up so that makes it tough on me (smiles). But the greatest joy for me is seeing the fans enjoying themselves, and I’d do my best so that I can look forward to drinking delicious alcohol after the show.

 

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Imai Hisashi

I was looking for something very aggressive and intense

―― What kind of concert was December 29’s Budokan show to Imai-san?

Imai (I): A live show that’s like a gift to the fans. We do it with a focus on songs that they want to hear, and also, it’s a show where we, the band members, get to perform songs we want to play.

―― Which song was the most requested one by the fans?

I: Probably ILLUSION.

―― And a song that Imai-san wanted to play?

I: I said I wanted to play ANGELIC CONVERSATION so they added it into the set. It’s a song that we haven’t performed in a number of years so that made me want to play it.

―― Did the show have a different vibe from the Kyokutou I LOVE YOU tour?

I: It did. Because the Budokan show is one where we have a lot of freedom with performing. Also, I couldn’t quite imagine what the Kyokutou～ tour was going to be like at first. I had the feeling that the Kyokuou I LOVE YOU album itself wasn’t exactly suitable for performing live, and I was honestly worried about how it would sound if we were to do that. But once we actually did it, it came across better live than I thought it would, and I think we even managed to showcase [our music] in a way we never have before. Because of that, you could say that Mona Lisa OVERDRIVE was very easy to grasp, or rather, I could feel that it’s an album that would look great when we perform it live so I’m quite looking forward to the tour.

―― It’s true that Mona Lisa OVERDRIVE is a work that you can imagine live, both in groove and sound. And Mona Lisa～ is most certainly an great album, but I think that Kyokutou I LOVE YOU is an album that sounds its best as a sound source, well, Mona Lisa～ is too but the flow in Kyokutou～ is beautiful as well.

I: Right. I guess Kyokutou～ as a more inward image, or, mm～, it might be a bit misleading for me to define it in words, but I feel that it gives an impression of insularity. In comparison, Mona Lisa～ is broad-minded, or I suppose you can say it leaves the impression of an outgoing type of sound.

―― It sure does. I heard that during Kyokutou～’s production, you considered making a 2-CD release, but how many songs from Mona Lisa～ had already been created at that time?

I: Well, none at all. Anyway, the 2-CD thing wasn’t simply about turning the album into 2 CDs, rather, at first, we thought of having about 10 songs for the main part of Kyokuyou～ and then adding another additional 5 songs that have experimental sounds that couldn’t be expressed in the main part. So, while we were working on that, the suggestion to just go ahead and make it a 2-CD album came up, and we worked hard to try and make that happen, but it was a little tight in terms of time so that became impossible to execute. Producing something like that in a short amount of time will gradually wear our minds out in the end (smiles), so we decided that rather than forcing ourselves to get it done, it would be better to release a separate album when we can take our time and work on it.

―― Were you already thinking of making each of the two CDs reflect different ends of a spectrum at the time?

I: We were not even considering making them opposites back then. But because we still had that desire to create a 2-CD work, we held on to that and brought the song Continue into the ending of Kyokutou～ to let it express this intent of ours.

―― I see, so, that’s where it’s connection to Mona Lisa～ originated?

I: That’s right. As a result, the two albums became contrasting works, but it wasn’t something that we intended to do from the start; it sort of just naturally ended up like this (smiles). There was no concept at all, but while composing the songs, there was a part of me that was looking for something very aggressive and intense, so even if it was [a] subconscious [desire] in the beginning, I gradually chose to make the conscious decision to create something like that because I didn’t want to stray from that aggressive side.

―― I could already feel the aggression right from the very first song, Nakayubi but was this the first song to be written?

I: The very first song that was written and completed was Zangai, which was also released as a single. That’s what got the ball rolling and after I’ve written a few songs, I thought, “Maybe I should retain this image in all the songs,” and after that, I just went along with my emotions and let the rest come naturally.

―― Earlier on, I told Sakurai-san about this too, when he let me share the impressions that I got after listening to this album, so may I share it with Imai-san too?

I: Ahahaha, go ahead (smiles).

―― I won’t hold back, then (smiles). Personally, in this album, I felt the sense of a massive battle being fought in a vast universe, but right at the heart of that, I also felt the presence of a really small yet deep, strong love between “you and I”.

I: Ohh～ Well, isn’t that wonderful. That really is the image that I had in mind when we were creating the album. I’m glad you were able to feel and receive it just as I envisioned.

―― Well, I’m glad too (smiles). That said, I guess the songs explain everything in this album. Which makes it a very concept-driven work in that sense.

I: You’re right, that’s what it turned into in the end. In terms of the flow, I got the idea to use the data of Continue, the very last track in Kyokutou～ to create something and that’s where it all started. When we were deciding on the track order [for the album], the very first decision made was to put Nakayubi as the first track and Continuous as the very last. After that, everyone discussed the line-up for the rest of the album together.

―― Imai-san has written a lot of lyrics this time around, and I’m once again reminded of the difference in expression between both [Sakurai’s and] your lyrics. Like, I’m amazed at how one expression can make such a difference to the impression left in the minds of the listeners. Even the melody too; although BLACK CHERRY somehow comes from the same band that composed GIRL and Sid Vicious ON THE BEACH, it leaves such a different impression that it’s shocking. What I’m saying is, I think Imai-san’s lyrics appear to have this nuance that makes the heart skip a beat. Like the kind of love that leaves a bittersweet sensation.

I: Is that so (smiles). I don’t know about that, but I guess that’s how people take it. I’m glad to hear that, though. But personally I haven’t written a love song for years now, since debut. So it’s also unexpected to me that people would feel that way [from my lyrics].

―― Ho hoh? Why did you stop writing love songs?

I: Well, because I don’t exactly live a life that is centered around romance anyway, and I’m not against it, but love songs are generally so vague that in the end you don’t really know what they’re talking about and I don’t like that at all.

―― I see. In what kind of situation do you find it easiest to write lyrics?

I: I’d first have the music [composed] and then I’d start to add words to it, but I don’t I put that much thought into it. I think that the stronger the message in the lyrics is, the more [you are] compelled to focus on it and you eventually won’t be able to enjoy listening to the music. That’s why I think that lyrics are unlike diaries or essays; as long as you’re into the song, that’s all that matters. But I’m human after all, so sometimes, when I’m composing, I’d end up writing about something I feel strongly about at the time. With the last album, it was a time when the terrorist attack left a huge impact [on me], so it was very easy for me to channel the emotions that I felt at the time.

―― So which emotions did you feel most strongly during the production of this album?

I: Right, I’ve put my thoughts about terrorism into GIRL from this album too. GIRL isn’t a song about a woman. Instead, “GIRL” is a sort of symbol, or a sign. It holds the meaning of a symbol which leads to a place that isn’t devoid of hope.

―― When it comes to titles, are they important in Imai-san’s songwriting process?

I: There are times [when they play an important part] but it varies from time to time. In this album, I guess the song which started out as a title then grew from there was Sid Vicious～. What I saw in my head was delinquents sitting around on a sofa, watching videos, and drinking in the afternoon on one hand, while on the other a war is raging somewhere else in the world. Something like that.

―― I didn’t expect it to have such a profound meaning behind it. But after hearing Imai-san’s words and reading the lyrics again, I really do feel it, and that the pain which I felt when I listened to the song must have come from those nuances. Well, actually, my mind was really hung up on the part in the song which goes, “Chaos marks our tombstones, (he) muttered.”

I: Those words are a famous quote said by someone, but for some reason, I just really like how well it fits in this song.

―― If you were to apply these words to yourself, what would be etched on your tombstone?

I: Probably, “contradiction”. Besides, I think we live with a lot of contradictions within ourselves, and as long as we’re human, we can’t run away from contradictions. So, I think our heads are probably all messed up thinking about things as we live our lives with these contradictions. Like, I’m sure there’ll be contractions even after I’m dead.

―― I see.  Alright, so lastly, please share your thoughts towards the tour for Mona Lisa OVERDRIVE which starts in March.

I: In any case, we’re going to do our best. I’m looking forward to it since this album is really made for a live show. Like, I can’t wait to perform it as live music. And so, I’d really like everyone to come and listen to that sound live. I’ll see you on tour.

 

 

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Translation: Yoshiyuki
Scans: Tigerpal on LJ

 

 

BUCK-TICK | [Jan 1993] Climax ≠ Relax

Posted on by Yoshiyuki

Climax ≠ Relax

B=Pass
January 1993

Interview: Yasue Matsuuba
Photography: Yoshiaki Sugiyama
Artwork: Kazutani Nishimoto
Styling: Tomoharu Yagi
Hair & Make-up: Takayuki Tanizaki

 

Turning what naturally gushes out from the inside of your mind and body into music through your flesh and instruments…… While only natural, that is the inherent work that a musician does. At times, it’s straining one’s self to the limits on stage, expressing feelings that are normally unimaginable. At times, it’s being in the recording studio or the workspace at home, getting so caught up in production work without any distinction between day and night. I believe that both cases are when the musicians that are BUCK-TICK have their musician’s moments.

But when we speak of people who are labelled as musicians, it can be seen that it is a fact that they will sooner or later face a huge wall if they do not manage the extremities in balancing between their moments of ‘climax’ and ‘relax’ from their various activities. This month’s issue is BUCK-TICK’s first opening feature in half a year, and in it, this collection of super individualistic characters’, these musician’s two sides of Climax ≠ Relax…… is what we are going to explore.

The first special in this feature is “Relax”, which personally analyses the 5 super individualistic characters of BUCK-TICK. Of course, they’d no doubt spend their private time with girls or drinking, but here, as we explore each of the members’ most relaxing environments/places/situations outside of performing and recording from a slightly more clear-cut perspective, we’ll also have them speak about how that affects their production and expression of music.

 

 

 

 

Individual Interviews

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Sakurai Atsushi

About an hour before the show starts, I’d feel relaxed and nervous at the same time

ーー I suppose that mentally, during recording or live performances, there is a delicate balance of the relationship between the mounting excitement and feeling emotionally relaxed, isn’t there?

Yeah. Things like that which appear to be contradictory upon first glance definitely do co-exist and occur at the same time, don’t they? Though there are times when either one is being projected more visibly on the surface than the other……

ーー Speaking of interviews, when there’s one to do, there’s nowhere I can stay whether it’s the studio where you’re recording in or the dressing rooms where you’ll be right before the performance (lol). No matter where I go, I’ll feel tense and uptight. Even though the band members will greet me with a “welcome” or something.

Although we can’t entertain you (lol). But there are those who do anyway (lol).

ーー Ahahaha. That’s U-TA-kun.

I don’t know how other musicians pass their time, but we don’t really feel… Or rather, it’s more like each of us do things at our own pace. Though, I suppose “the feeling that one can’t stay in this particular place” that Matsuuba-san* mentioned isn’t something that the 5 of us will sense, but it’s probably something that someone in the position of a third party would end up feeling after all.

ーー That being said, when you want things to be quiet, you wouldn’t want, for example, the staff to barge in and the sort, right?

About that, our staff already understand. We’ve been working together for a long while now so we understand each other and they’ll leave us be. Of course, I do think that there are times when I show an attitude. Like, I’d get the feeling that I want to be left alone today and promptly coop myself up in the dressing room without a word…… They’d understand that too so they’d let me by without saying anything. After all…… wanting to be left alone is for the sake of relaxing on my own before gradually heading towards the stage and getting into that emotional high, so it’s mandatory as a period of time for me to bring myself towards that. Even if I’m having a conversation, my mind will be somewhere else anyway, and I’d prefer to take my time to do makeup and all that. It’s not nice to rush, isn’t it?

ーー Even so, I often see you rushing though (lol).

That~ is true~ (lol). I keep in mind to keep my emotions relaxed. I’ll listen to my favourite music on my walkman. I’ve got a big cassette deck too, but between the two, I’d pick the one that will allow me to find my way deep into myself, so the walkman is the one that will allow me to run away from the “real world that I’m currently in” and into myself. Somehow…… It’s like, I personally know I need time for me to get into character, you know? Getting tense on your own, don’t you think that there’s no need to bully yourself like that?

ーー (Lol). But I can understand that it’s something like an implication that you can’t get on stage if you don’t do that.

Right from the start, from the opening of the performance, we want to keenly pierce the audience with us 5 BUCK-TICK members’ sharp edges; to have them fall into a kind of indescribable emotion that makes their hearts pound rather than rouse them up in a way that feels preset. That’s the kind of BUCK-TICK that I want everyone to feel.

ーー Does the live start from the moment you begin putting on makeup? Or does it start when you enter the venue? Or since rehearsals?

Hmm. I wonder… I guess, an hour before the performance begins. I’d look into the mirror, listen to my favourite songs, feel relaxed and nervous at the same time. While applying makeup, while putting on the outfits, I’d feel a special kind of way that feels as if I’m not in reality. Forcing myself to feel nervous probably seems weird but (lol), I’m performing a live show that I really love, aren’t I? I guess you could say that it’s my own kind of enthusiasm for a live show that I like a lot. Though I do feel awkward doing things enthusiastically myself (lol).

ーー Is it a period of time that you want to cherish?

Yeah, very much. It’s definitely the case for the (live) performance, but I really like the moments before and after that too. The hour before the live and the 30 minutes after. I hate tedium, so being both relaxed and nervous before the live, it’s a precious period of time when I will receive and unleash any form of stimulation. After the live performance ends, I’m probably in a daze (lol). You see, that’s when I won’t do anything, or can’t do anything while the tension is being released for me to return to my usual self. Because something that’s been pulled tight just a mere moment ago can’t suddenly revert to its original state.

ーー So, while you’re enjoying the spare time after a live, you’ll smoke.

That’s right. While still drenched in sweat, I’d plop myself down in a chair and slack off (lol). Days with a purpose are good for me. Because it’s as if things are clear before my eyes. The days when there is a live performance sometimes feels refreshing. Things are normally blur and fuzzy though (lol). When I wake up, even if my head has yet to focus, regardless of the weather outside, things are crystal clear. I love it. That feeling. Even if there are somewhat unpleasant things or other kinds of happenings, I’d feel happy.

ーー You’d be swaying between nervousness and relaxation.

I think it’s probably more accurate to say that I can relax because I feel nervous, and because I can relax, I can enjoy the tension. If there was only either one or the other, I’d get sick of it, for sure. I don’t think I can stand it. There’s a pleasure that can never be experienced in regular life…… And I want to get there so badly that when I arrive, that climax and euphoria is so wonderful~. Like, I can feel my blood rushing through my veins and it feels like I’m going crazy on the inside. However, such a feeling is an indeterminate thing that can’t always be produced every single time so… But when I can pull that unknown towards myself, I’d feel pleasure again.

 

Notes:

* Interviewer’s name

 

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Imai Hisashi

I like the composition process of letting the image expand in my head and then shaping it after that

ーー So, I decided to ask Imai-kun about songwriting and creating an environment that is conducive for it. You basically work on songwriting at home, right?

Yeah. In the composition room at home. Well… It’s a room that’s around 8 tatami mats in size. Though I can’t go in there a lot in a year…

ーー To have a room that you can’t enter often in a year, sounds kinda luxurious (lol).

(Lol). I won’t go in at all, you know.

ーー What on earth do you put in there while it’s sealed off?

Equipment and the console*, guitars and…… other things like a drum machine and audio-related equipment are in there.

ーー And despite that it’s a room that’s so full of music.

But, you see, that only makes it feel like a composition room……

ーー So, I guess unless Imai-kun gets into a state where you start thinking, “The deadline for songwriting is approaching!   I have to compose a song!!”, you’d never go in there.

Yes. But it’s not as if I can’t do it unless I’m in that room anyway. It’s more like it’s better for me to move around between different locations. For some reason, I get an unpleasant feeling when I go to the 8-tatami-mat space.

ーー Like you’re being rushed?

That’s right. That’s why, there’s one way of doing things where I’d go to a room with a TV and think or contemplate a guitar riff until I more or less have it together then go to that room, or the other where it’s already the very last minute and I simply shut myself in from the start of the process. It’s like, personally, the most effective way is for me to get into the mood for it then put myself to work.

ーー Then, what kind of circumstances do you compose in? Like, is your room clean or messy? Do you eat or not? What’s your sleeping pattern like? How do you change your mood? Things like that.

First off, I’d create the mood with the room. I’d start by putting up cool posters, things like that, to create the ambience and get into it.

ーー I get it, I get it. I’d also start cleaning up profusely before I start writing a manuscript (lol).

I’d organise the shielded cables and things like that which are lying around in the room but……while I’m working it’ll all soon end up all over the place though. But I’ll first clean up.

ーー And after that?

It becomes super messy (lol). But I’m not particularly bothered even if it gets messy.

ーー What about sleep?

It doesn’t happen all the time, but there are instances when I wouldn’t sleep for two days or so. And during those periods, it’ll feel as if one day has 36 hours, so I’d feel sleepy and wake up at weird hours, and I won’t know how to manage having only 24 hours in a day. But, as expected, if I don’t sleep for two days, I’d get this weird-feeling clarity in my head, and because I can fall asleep anytime I want to, I’d feel fine even if I’m sleepy.

ーー That’s a kind of high, isn’t it?

I’d be dizzy, but I’m fine so it’s strange to me too (lol).

ーー What about meals?   I’ve heard that you only eat bread and tomatoes and cucumbers when you’re working though.

If I eat rice, I’d feel suuuper full, which makes me sleep well.

ーー You’re weak against rice!

Yeah. I’m weak.

ーー So that’s why you eat bread.

Bread. And at times soup or salad and the like…… Light meals work well for me. That and I’ll keep drinking coffee, black.

ーー Though it is true that when your stomach is full you’ll lose concentration. I suppose the reason why Imai-kun loses weight during recording is due to that diet and that lifestyle, right?

I forget when I’m writing songs. Be it the sense of time or meals. Even having to sleep and things like that, I’d end up deviation from life’s normal sense of time too…… It’s as if they become things that don’t matter.

ーー Do you often start at night?

It depends on each time. I often do start in the noon, there are also times when I start at night.

ーー Is there a difference?   Between starting at night or in the afternoon……

That’s exactly what I mean by the messing up of my sleeping hours that I mentioned earlier. The state where there are 36 hours in a day, not sleeping for two days straight and things like that. My cycle changes when I do that and I can suddenly wake up in the morning and then start working in the afternoon, or wake up in the evening, have dinner then soon it turns to night. It’s very inconsistent. 

ーー What about drinking?

I’ll end up not drinking much. I mostly don’t drink. It’s like I forgot about alcohol (lol).

ーー Ahahahaha.

It takes a long time for me to start working so…… I clean up, I read manga, I laze around. I even sit in the bath too.

ーー That really takes a lot of time. I guess it’s like a trigger that gets you into it?

I think so. I personally like the feeling of gradually getting into it anyway, since I like the process of letting the feeling or image of what I’m going to work on expand and then shaping it after that. So before that comes to me, I’ll be reading manga and doing the sort though (lol). Once I know what it’ll be, I’ll be able to go straight into it in one go. If I can make it the way I imagined it to be, then the work will be done very quickly.

ーー Speaking of your latest sound, that’ll be the track used in the video (CLIMAX TOGETHER), right? How did you work on that?

On the day before I go into the studio, I’ll analyse the chords that I want to use while visualising the scenes, then play the riffs for the bass on my guitar… But during recording, I kept thinking that it was a bit off no matter that I did, so recorded it at double speed.

ーー How many days did it take from conception to production?

I thought about it when Director Hayashi** asked me to. So, I actually only touched the guitar the night before recording.

ーー As expected, it was last minute.

(Wry laugh). Since it won’t be a guitar’s sound, I can’t capture the ambience of it even if I played it at home. That’s why I went ahead with it at the studio all in one go and made it take shape there. This………… isn’t an excuse (lol).

 

Notes:

* This word was originally 卓, which can mean either “desk” or “table”, but I went with “console” as in the mixing console that music producers would use in a studio because it made more sense to mention that than a table. (I could be wrong though.)

** Wataru Hayashi was the film director for Climax Together.

 

 

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Hoshino Hidehiko

Personally, I’m still at the stage where I’ve just started messing around and trying out the Mac in the middle of the night

ーー Hide-kun has been declaring that you were going to buy a Macintosh computer since last year, and it looks like finally bought it.

Yes. Finally (lol).

ーー When did you get it?

Eーhm, it was after the Arena performance so I supposed it was around September. But I didn’t plug it all in for the longest time so it was only until recently (lol).

ーー So, it’s a world-famous computer that has been nicknamed the “Mac” but…… At this point, I’d like to ask Hide-kun to give us a simple explanation of what a “Mac” really is.

What!?   Me!?   I can’t, no way. I’ve only just started using it and I’m not yet familiar with it either.

ーー Ehー Anyway, “Mac” was derived from “Macintosh”, right?

Yes, yes. So, you can use it in a number of different ways and it seems convenient, but I haven’t reached that level as of yet (lol).

ーー Again, can you tell us why you bought it?

It was out of interest. That said, Yokoyama-kun who worked with us on DANCE 2 NOISE was using it during recording. At that time, I was watching him from the side and it looked like so much fun. I was staring and feeling like “Oh～ So when he does it like this it becomes like that～” (lol). I’m actually watching him work up close, but I could understand that he was applying music as if it were a game…… I mean, things like computers and machines, they have an extremely cold and inorganic image, don’t they? But it somehow looked so much fun playing with music that it felt great and it made me feel like maybe I should give it a go too. In any case, it’s capable of branching into a lot of different things and there are quite a few different ways that it can be used, but among all of that, I learnt the parts and software that is used for music. I’m at the stage where I have Yokoyama-kun as my teacher.

ーー By the way, how much did it cost?

Eーhm… Including the various accessories, probably around 500,000 yen. There are more expensive ones, but personally didn’t intend to use it as a main tool for recording, so I decided that this was sufficient since I’m only thinking about using it while working at home.

ーー How would you word a simple explanation of what it’s like to work on music with the Mac?

For example… Assuming that the simplest method of recording is to use a cassette tape recorder and sing the melody to yourself while playing the guitar, then this would be something like having tens of those recorders with you, I suppose. It’s an extremely simplistic explanation though. It’s a “Classic IIci”*, and I haven’t really gotten myself familiar with how to use it yet, so I think there actually are many more ways to use and express it though.

ーー You’re not mechanically inept**, are you?

Me?   I’m useless, really. I even have problems with the effectors that I use myself.

ーー (Lol) And despite that, a Mac!

Right? What am I going to do (dry laugh).

ーー So, how did you set it up?

It’s in my equipment room. It’s a room where my guitars, my rhythm box, synthesiser, and all the music-related things are. For someone who does only live performances, I don’t think it’d have much merit to them. But for a person who works with all of it as a sequence, you can add the bass and the drums in, you can create all the synths as well so it’s very convenient. It’s like one of the wide-ranging music instruments. Though, that’s not the case for me.

ーー Then, what do you use it for?

Gaming.

ーー Hey, hey, hey.

There are a lot of game releases recently, you know.

ーー Oh, goodness. That isn’t a musical use, is it (lol)?

I mean… I guess it’s because I feel like I’m still trying to get used to using it. Anyway, there’s already this much to go through in the manual alone (shows a space about 10 cm wide between his thumb and index finger).

ーー That looks overwhelming.

Doesn’t it?   That’s why I currently have Yoko-chan teaching me and whenever I ask, “What should I do in such a case?”, I’d receive direct guidance from him. Learning like this is much faster.

ーー If you master using it for music, may we assume that it will influence Hidehiko Hoshino’s work and BUCK-TICK in future?

I don’t think so (decisively).

ーー Why not?

But, you see, I guess I don’t have that intention… Because I didn’t buy it because I was looking for a change. Rather than that, it’s more of a personal thing, I suppose. Like, since there’s a way to doing things that I don’t know, and since Yoko-chan is nearby and all that, I felt that there’s no harm for me to try learning it if he would be willing to teach me. I guess it’s sort of like a toy.

ーー More like a hobby?

Yea. Something like that.

ーー And that’s why all you’re doing is playing games?

No, it’s not like that (lol). It’s more like I’m still getting a taste of it. Because I think that if I grow accustomed to it while enjoying it the way a beginner would, I’ll come to learn of yet another interesting side of the Mac… I guess mastering it and knowing how to use the Mac whenever I think of something I want to do comes after this.

ーー When do you play with the Mac?

I don’t have a set time, but it’s often at night. Messing around and trying it out.

ーー As a prediction, I’d say that we can look forward to how much Hidehiko Hoshino will absorb the yet unknown Mac.

I feel that we should be looking at it in the loooong run. Perhaps, it might turn into something that revolves heavily around music, but of course, as I’ve said earlier, I feel like this is more of a personal thing that is separate from BUCK-TICK’s musicality.

ーー It won’t affect the next album?

I don’t think so, and I won’t make it in time anyway (lol). Since I’ve yet to learn how to fully use it.

 

Notes:

* The model of the Macintosh.

** In other words, bad at using devices/machines.

 

 

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Higuchi yutaka

I have 15 bass guitars. They’re cute.They all have their own personalities……

  

ーー How many bass guitars does U-TA-kun have now?

Ah, I haven’t been counting recently. Uーhm, for Greco’s, I have 1, 2, 3, 4, 5, 6… 6. 3 Spectors, 1 Fender Jazz Bass guitar. And there’s that one that I used back in our indies days… and 1 Les Paul bass. I think that’s all of them. I don’t think I missed any out, did I? (lol)

ーー You have 15.

I sure do have a lot.

ーー You’re surprised too?

Yeah. But those that I actually use are limited though. Since I only use one as my main.

ーー Why?   If you say that, then isn’t it odd to have so many bass guitars?

I use them during recording. When one’s got a sound that I think is great, I’d end up wanting it and then buying it.

ーー Around how much do you buy them for? I’d assume that it ranges from the cheap to the expensive though.

The Spectors were around 500,000 yen when I bought them, but it seems like the prices have gone up quite a lot since. The most expensive one among those that I have is probably the Jazz bass, I think. That one’s worth more than 500,000. Despite that, I bought it from a shop that our manager’s acquaintance runs so I got a bit of a discount.

ーー So, then the cheapest one would, as expected, be the bass that you used during your amateur days?

That’s right. It cost about 70,000 yen. I think I took a loan to buy that. And before that one…… The very first bass I had was given to a friend, so it’s no longer with me though.

ーー You’re not building a collection on purpose, are you?

It just ended up increasing while we recorded. When I start thinking of wanting to try a particular sound, I’d roughly know that if I use that particular bass, I’d be able to produce it, so I’d first lease it and try it out. Then, if I play it and feel, “This is good!”, I’d buy it. That’s why I’ll end up having more and more when we’re recording.

ーー But there’s no way you’re keeping them all at home, right?

Yeah. I have some in a warehouse, I have some at home. Right now, I have 1, 2, 3, 4, 5… 5 at home. Because it’s humid in my own room, the necks can get warped and the strings can get rusty. That’s why the bass guitars in my house are those that can be played just for fun.

ーー Which is the bass you’ve got the best memories with?

I suppose it’s definitely my main Spector bass guitar that I use the most. Its body is small, so its suitable for my frame. Of course, the sound it produces is great too, and I use it a lot because it’s a sound that I like. I think the very first time that I bought a Spector was back when we were recording Aku no Hana. I’ve been using it for quite a long while since then, haven’t I? It’s easy to play, and it produces the kind of sound that I like…… It can be played without being plugged into an amp, and if I directly connect it into the mixing console with the line and play it with the same settings, the sound from the bass itself will come through. I really love that sound. If it’s not this particular bass guitar, then I’d say that the one I gave to my friend is the one that I’ve got the most memories with. Though…… It was a bass guitar from Tokai or some other brand, but it is, after all, still the very first instrument that I had, isn’t it?

ーー There’s no way you wouldn’t have made memories with it.

Exactly.

ーー But why did you become a bassist in the first place?

When we first started the band, it was a situation where the guitarist and vocalist have already been decided. And Anii was a drummer, so I decided, I guess I’ll play bass.

ーー What’s the joy in playing bass?

Anii said this in the very beginning. “It’s inevitable that you’d be playing the same instrument since you won’t be able to play together otherwise, right?” … And, after all, it’s different than what I expected when I actually gave it a go. There was a moment when I first tried it out and I suddenly realised what the joy of playing bass was. Ah, yes. I just remembered something about the bass that I now have at home!! I painted it myself. And, you know, Imai-san did that together with me too. Meaning, Imai-san painted too, and I painted too.

ーー Have you ever used that bass for a live performance?   I wonder if I’ve seen it before.

Hmm, I wonder… Maybe I might’ve played it around the time of our performance at Nihon Seinenkan. But I’m not sure about my memory (lol).

ーー As an artist, you must’ve had the joy of becoming capable of buying a bass guitar that you like.

Yeah. There was that too. But for me, personally speaking, I was super happy the moment I got to own my own bass amp. Because [it meant that] I didn’t need to borrow from someone else. Like, this is my very own bass amp. I was sooo happy.

ーー When was that?

When I first came to Tokyo. There were quite a lot of live houses that wouldn’t lend you equipment, so when we had battles of the bands, I played using the bass amp that was provided. So when I had the ability to properly bring my own along, I was really happy… We bought an equipment vehicle around that time too. Yeah. We gradually gathered the things we needed, bit by bit.

ーー When do you get into the mood to play bass at home?

When I’m zoning out, you know. But during those times, I’d more often choose to play the guitar than the bass (lol).

ーー Please tell us the differences in the sounds made by the bass guitar.

I guess for the undulating songs, I use the fretless basses. Like “Victim…” and “Brain…”. When pauses are important, that’s the one. I use the Rickenbacker when it’s songs like “Speed” or “Oriental…”. They’re cuuute. They all have their own personalities…

 

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Yagami Toll

There’s an affinity with drums, it’s not the price, but it’s something like fate. The encounter is important

ーー First off, please tell us about how Anii first got acquainted with drums. I’ve asked about it numerous times, but I’d like to hear about the start of your relationship with drums again, so, please.

It’s a memento of my older brother. I was in the 3rd year of junior high when my older brother died so…… that was when I was 15. I originally didn’t have any interest in drums. After all, the instrument that catches my ear first when I listen to music is the guitar too. I was the kind of guy who would hold a broom and pretend to play the guitar, you know (lol). Rather than hitting pots (lol).

ーー What made you think of playing the drums which were a keepsake?

When my older brother was still around, the drums set was like an altar. Because we couldn’t touch it without his permission. But my older brother died and my parents were going to put the drumset away, so I said that I’ll start playing it if they were going to put it away… I guess, in the end… it’s because [I felt] immensely sad to lose something that had always been there after all.

ーー You were self-taught, right?

I suppose you could say that of the practice book… I used song sheets and learned by watching others. And my cousin also played the drums so I had them teach me too though.

ーー How long did it take you to get from that stage to being able to play in front of others?

My older brother passed away in May, so, let’s see… It was around August. Classmates from my class said, “Let’s form a band” and our first goal was the culture festival. We covered Carol*. Songs like “Funky Monkey Baby”* and “Nikui Ano Musume (憎いあの娘 / That Hateful Girl)” and so on.

ーー That’s quite something. Now, I’d like to hear about Anii’s drumset history.

For about 5 years, I played that drumset which belonged to my older brother. The new one that I bought when I was 20 was a Pearl. It was cheap. At the time, I was working as a steelworker, so compared to the other members, I had the money to be free. I basically debuted with that drumset that I bought myself (lol). I used it all the way until “Romanesque”. Then during “SEVENTH HEAVEN”, I remember using a rented one, and from around the time of our [first] Budokan performance, I finally got to use a professional drum set. That was the chronology of it, and since this year, I’ve settled with the manufacturer “Ludwig”. They’re good, I like it.

ーー Could you explain what a snare is in layman terms?

To put it veeery simply, it’s a small drum**. Like the kind of drum that you’d use in a brass band or during music periods [in school].

ーー It’s the one that’s sort of between your legs, right?

It’s the one that’s put right in front of you and closest to your body. Everyone, it’s a small drum between your thighs.

ーー That was extremely simple to understand. What is it about Ludwig that you like?

They’re a manufacturer that originated from Chicago and because of that, they’d, of course, be influenced by jazz and blues, and they also started out by providing for marching bands called fife and drum corps, so you can feel the “America” from their roots. I wanted to know more about this knowledge and Ludwig so much that I bought a book about their history and read it too. You know, in their heyday, they used genuine cow leather instead of plastic heads. To the extent that they had a ranch for those cows. And the mark that they used back then was a “cow”. No matter how much I wanted it, I felt that the price was too high and we don’t have it in Gunma’s countryside, so it took some time until I could buy it with my own money (lol). I love its sound quality. I’ve been influenced by the artists who used these drums too, so I’ve unknowingly been listening to Ludwig’s sound. Deep Purple’s Ian Paice. Led Zepplin’s John Bonham. Vanilla Fudge’s Carmine Appice… The easiest one to pick out is the Beatles. That sound is a Ludwig.

ーー BUCK-TICK and Ludwig. So what’s the relationship between Toll Yagami and Ludwig?

The unique characteristics of Ludwig are that the sound is tight and that there are no overtones. A closed, tight sound is naturally produced. Without needing to make any adjustments too. Of course, when I start playing them, it becomes BUCK-TICK’s drummer’s sound and rhythm. But it doesn’t mean that my influences won’t appear in the band. Instead, it simply means that that the band is based on the relationship that I have with Ludwig. Because, if, in the first place, I’m not interested, if I didn’t feel like playing those drums, if it didn’t produce a sound that I liked nor did our natures fit, that will only be bad for the band, won’t it?

ーー Not just for drums, but the same can be said for the other instruments too, right?

Of course.

ーー Did you change your sticks?

I did. Ever since the rehearsals for Yokohama Arena before this.

ーー What are the drums that Anii currently has in his collection?

I’ve got about 20 sets now. Rather than calling it a collection, I’d say they’re sets that collected naturally. It could be something that I think I might use in future, or it’s something that I received as a gift, so I can’t sell it or give it away. In the end, it remains in my possession. And for foreign makers, aside from Ludwig, there’s an English manufacturer called Premier too. I have some from this maker that The Who’s Keith Moon used.

ーー What’s the criterion that makes Anii want something?

First, I’d try it out. It’s got nothing to do with looks. If it looks all worn out but sounds good, it’s love at first sight, no, sound (lol).

ーー So if Anii thinks “This is it!!”, you’ll buy it immediately?

I’ll play it 5 or 6 times. With drums, there’s an affinity involved. Because people have their own individual likes and dislikes, so it’s of course that there’s a possibility that even if I really really like something, some people might play it and think “What the hell is this!?”. A high price point doesn’t necessarily equate to a good sound. It’s like fate, really. The encounter is important.

 

Notes:

* Carol (キャロル) is a Japanese rock band which formed in 1972 and disbanded in 1975. You will find that Anii mentions this band often. He covered their song, Funky Monkey Baby, in his first solo project album 1977 by Yagami Toll & Blue Sky.

** The term used was 小太鼓, which could be interpreted more literally as ‘a mini Taiko’.

 

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Group Interview

In Russian

 

BUCK-TICK has announced their first attempt at a pure live video (which was a large project that was filmed at a huge venue called Yokohama arena and spanned 5 days, including preparation time) on December 2.
In the second special of this opening feature, the “Climax” part will be presented in the form of an interview with all the members about the visual and musical highlights of this work, what sets it apart from the usual live performances, the moment they ‘climax’ on stage and more, plus a Q&A consisting of 6 questions with them.

The BUCK-TICK headline interview (with all the members) began after the entire photoshoot ended at 2 a.m. in the morning. (The first member who arrived at the studio, Hidehiko Hoshino, had already been holed up in here for 12 hours by this time!!) Goodness, gracious. The atmosphere felt perfectly apt for finally welcoming the climax of all interviews of this feature’s theme of “CLIMAX ≠ RELAX”!! …… Or not, as it would be expected. It’s in the middle of the night after all. And they’ve been having photoshoots and interviews all this time too.

Feels like an “inner climax” where you’d get excited from within〔Hisashi Imai〕

ーー (Looking at the clock) It’s already so late.

Yuta (Y): It’s okay.

ーー Thank you. Alright then, we’ll be talking about this time’s live video, but when I first asked about the content back in the beginning, I was told that scenes from the dressing rooms might be included as private shots but I suppose that didn’t happen in the end.

Toll (T): It’s in there.

ーー Huh!? Where? Where?

T: The very first scene.

ーー But isn’t that the scene where Acchan’s holding a candle and shining it on the members’ faces in brief flashes?

Y: That, it was filmed in the staff’s dressing room.

T: See, it’s exactly as you were told about the dressing room scene being included, right? (Lol)

(Members laugh)

Atsushi (A): That’s the usual.

ーー It being too dark is the usual (lol).

A: That’s the way our dressing room always is. I’d walk around with a candle in hand (lol).

ーー Ahahaha. Normally, when we speak of dressing rooms scenes in live videos, aren’t we talking about things like the members eating bento or joking around, or rehearsal scenes?

Y: You’ve been deceived. Kekekek.

ーー After that dressing room scene (lol), the SE that Imai-kun produced starts playing but is there a title for it?

Imai (I): None in particular.

ーー So what should I call it?

I: Just SE’s fine.

ーー So, you’re saying, simply calling it “sound effect” is good enough.

I: Yeah.

T: As long as it’s not the theme of “Climax Together”.

I: It’s not that grandiose a thing so I don’t think that there’s a particular need to name it. It’s being used as an SE anyway, and I made it with the intention of creating an SE, so calling it SE is enough.

Y: So, doesn’t that make it’s title “SE”?

I: I didn’t think so deeply about titles (lol).

ーー There was a white curtain, or rather a thick drop curtain at the front of the stage. How did you feel about having that in front of you all?   I suppose you’d be nervous. When the slides get projected or when you can hear the audience’s cheers.

Y: Since there’s a curtain, we can’t see the audience on the other side, right?   There was a different feeling and atmosphere than usual, wasn’t there?

Hide (H): That said, I wasn’t really all that nervous anyway… I suppose it’s kind of like how you’d become more imaginative if you can’t see something. Wasn’t it rather interesting the way their cheering screams became entangled with the first song, Jupiter?

ーー What do you mean?

H: Well, isn’t there something like an expectation that the first song that comes will be one with a good momentum after all?

T: Like, “Here it comes!   Here it comes!”

H: I suppose it could perhaps be expected that Jupiter was a surprise.

A: For me, I was moved. We can’t see the slides from where we are anyway. And for some reason, it really hits home in my chest when we transition from the chants to Jupiter.

H: This was also the first time that we’re starting a performance without raising the curtains once the song starts, so the part regarding how our tangent point with the audience was different than usual was interesting too.

A: I guess it’s things like the audience’s voices and the feeling of facing the curtain, but I could feel in my body the sense that there are a lot of people there with us. It’s not just sensing it with my eyes and ears, but it’s more like the sensation of feeling it in my skin.

T: I go over to the drums earlier than usual too. Because we’re filming. Usually, I’d be warming up, rolling my hands and wrists until the last minute though. This was the first thing that made me feel that there was something a little different than usual when I was up on stage (lol).

Y: I suppose the excitement that I felt was a combination of the tension that came from the curtains still being drawn when the song starts and the excitement of performing live. I was suuuper excited. I could see Acchan, Hide, and Imai-san’s shadows cast on the curtain, and I could see the slides too. It’s a live performance by us, but it did also make me feel that it was beyond cool.

ーー It’s quite suspenseful when you can’t see the band members, right?

Y: The suspense is at a level of 120% (lol).

ーー But in the video, there is quite a lot of footage from the band members’ point of view that has been put in.

T: Because it’s a live video filled with tantalising footage. It even includes a private dressing room scene (lol).

ーー There you go again (lol). Also, the live’s title of “Climax Together” was chosen to be the video title too, but the setlist and the order of the songs was made up of subdued songs rather than high spirited songs, right? The lighting was dark too, muted. I guess the climax that was born from this was different from that of your usual lives.

I: It sounds like a setlist made of songs that don’t burst out with a ‘bang!’, but I get the feeling that such songs are better at getting people excited from within in the first place… Mm, I suppose this is what you’d call an “inner climax”.

(Even as the band members burst out laughing at Imai-kun’s remark of an “inner climax”, they applauded how apt a phrase it was)

I guess the 90 minutes were all for the purpose of that climax〔Atsushi Sakurai〕

ーー That’s an expression I understand very well!

A: I think that the “inner climax” that Imai mentioned is also definitely something that can be found in the BUCK-TICK that has existed until now. So, it feels as if that day’s live performance enlarged that part of us. I believe that since the moment we started thinking about selecting songs for the setlist, we decided that we wanted to place importance on passionate things that gradually well up, little by little, on the inside. But we wanted to do this while remaining cool on the surface. Imai thought of the title after we decided on the songs, but when the staging and the setup and other various things came into play, it again turned into another world that is different from the title of “Climax Together” so… I’m personally in full agreement with that “inner” part too. I believe that those who watch it might perhaps be able to feel another interpretation of the interpretation of “Climax”.

ーー The aloof yet intense feeling?

A: That’s right.

ーー Both Imai-kun and Hide-kun stayed in their own positions without really moving until the second half, so in terms of movement variations, Imai-kun sat with one knee drawn up*… 

I: Ah, is that what it is? Sitting with one knee up*…

ーー I don’t know if that’s the phrase I should use. But I can’t find any other words for it.

I: Well… That’s just one of the ways I entertain myself.

H: We don’t think, “I’ll do this over there, I’ll do that over here”. We just do things naturally.

Y: Hide shows it through his shadow, right?

ーー Hn!?

Y: When he was playing the 12-stringed guitar, Imai-kun was facing the side, Acchan was facing the front… And despite that, only Hide was weird.

T: I was surprised. Because the area where his ass is was so round.

ーー That wasn’t his ass but the guitar’s body, right?

Y: It’s a good thing that we’re putting it straight here so don’t think that that was his ass.

H: Oh, c’mon, no one thought so (lol).

ーー Ah, we’re strayed from the topic of climax……

T: Well, isn’t that because we’re all aware of the fact that we’re starting off with a different ambience than usual? It’s of course, but we do know what songs come in which sequence and how we’re going to perform them. But even though we know this, it was interesting, wasn’t it? You could probably say that lives are things that are unpredictable, so it’s not something you can get tired of. So, this live at Yokohama Arena is also the live performance that we gave on that day. There were cameras involved and cranes in the venue so the stage was more crowded with people than usual though (lol). But doing this and getting to see our own live performance on a proper video isn’t something that we get to have every single time, right?   I think you can even say that us members may very well be the ones who want to watch it the most. Because we’ve never been able to watch a BUCK-TICK live.

A: Yeah. You can definitely say that. Having it turned it into a video, when we watch our own live performance, you’d somehow feel happy and at the same time it feels strange, doesn’t it? Like, “Ohh, so that’s what the lighting was like at this point in time”, or “so that’s what my band members are doing in a spot that was out of my field of view”. We’d feel excited too when watching it.

ーー I’d suppose that there were a lot of cuts, and there were moments that made you feel that the way a particular shot was taken was really cool. For example, the one that was only made up of Imai-kun’s guitar body, or the one with Acchan’s finger, or the silhouettes, and so on.

I: There’s also the fact that we don’t know what will be shown and that there were also shots which we had no idea when they were taken.

Y: Earlier, Acchan said that we were excited when we watched it even though it was footage of ourselves, but I think that this is a good thing. As a work in a video, it’s, of course, important that it has to be of really high quality, but I am extremely grateful to the director and the staff who were able to make us feel excited about our own live performance like this.

A: I believe that the tension was conveyed too. And it isn’t a tension that tears and strains at you, but instead, it’s something that is built upon that emotional climax.

Y: Yes, exactly. I was surprised by how great the timing was when they showed Hide spitting out the pick from his mouth at some spot that I couldn’t see.

H: That wasn’t spit (lol).

ーー Aーah, this has turned into a conversation at 3 a.m. (Incidentally, could it be that  they were the type who can get high even without alcohol involved!?）

I: For me, I knew that Hide spat picks so it wasn’t all that surprised, though. I thought it was a good thing that it flew so nicely.

Y: If he spat it out with a “pht!” and it simply landed (in front of him) with a “phet!”, that would be so uncoolー.

H: I’m glad that they chose a good shot to use, yes.

ーー And that bright smile when Acchan looked towards Anii. That was something that the other band members weren’t aware of, right?

T: Even though that was something for just the two of us. Right, Acchan? (Lol)

A: Ah, they caught it (lol).

ーー (Chuckles).

T: Jokes aside, that was a smile that has never been shown to neither the audience nor the other members on stage unless our direction gets turned 180 degrees. Well, shall we call that the “inner smile” (lol)? 

A: Shy on the outside but tough on the inside**, that’s me.

ーー Don’t praise yourself (lol).

A: I suppose it’s expected that even I felt embarrassed with that scene because they captured the communication which happened naturally within the band and between individual members. But say, for instance, if they were to take only out-of-the-ordinary happenings to make it cool, maybe that would turn it into something amazing… Well, I think that it’s different from something that’s completely steeped in coolness. Since it’s not a smile that was done deliberately with the aim of making this particular expression at that timing (lol). That’s the reality that happened on stage, and it’s not as if we decided to cut that face in too…

Y: But that’s a nice expression. Personally, I like it. I’m sure that those who have watched it definitely thought that “(it’s nice) that he had such a facial expression on stage”.

ーー So, what would you say is the number one climax point of “Climax Together”?

A: Well, let’s seeー. I can’t really pick one in particular, but I guess I personally like Jupiter’s portion. It’s just that, rather than picking one single point, I guess the 90 minutes that began from this one song were all for the purpose of that climax. I feel that whichever the song, which ever the scene, all of it has been put there for the sake of feeling the climax, to thrust (the audience) into a world disparate from reality.

 

Notes:

* The specific phrase that was used was 立て膝 (tatehiza).

** The specific saying used was 内弁慶 (uchibenkei).

 

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Group Q&A

Live Video at Yokohama Arena 1992.9.10 & 11
“Climax Together”

1. What is the music video that left the deepest impression on you? When did you see it? What song was it? Who was it by?

Atsushi Sakurai (A): Bauhaus’ “Shadow of Light”. It’s a collection of promotional videos but I really love it. I was around 20 when I watched it. It clearly depicted their image as a band.

Hisashi Imai (I): The one I’ve watched more than 10 times is LOVE & ROCKETS’ “LOVE & ROCKETS”. Part of it is because I liked the song, but at the same time, the pictures were gorgeous so it was enjoyable to watch throughout. I watched it a lot when it was first released 2 years ago though.

Hidehiko Hoshino (H): I think I saw it on MTV or something. It was a Western song, for sure. At the time, I was still a high school student so I didn’t have the money to buy videos and the like so…… Among what I watched on MTV, the one that left an impression on me was M. Jackson who was at his peak at the time (lol). Around the time of Thriller, I think.

Yutaka Higuchi (Y): What interested me was the (Sex) Pistols’ promotional video that I watched in middle school. My impression was, “Weeeird” (lol). During the recording of that promotional video, bassist Sid Vicious stopped playing and messed around with the volume and things like that, so I guess it was just him doing whatever he wanted.

Toll Yagami (T): The one that left the deepest impression on me was a video called “California Jam” from Deep Purple. At the time, I was already playing the drums so the technique that Deep Purple’s drummer, Ian Paice had left me speechless.

 

2. This time, what did you personally pay particular attention to, knowing that this live performance was going to be turned into a video?

A: I was particularly aware of the fact that it was to be a video, and I kept in mind to not make it just like any other regular concert. I think I personally did it with the awareness of the people who were calmly watching us from the other side of the lens.

I: Nothing…… Nothing in particular. Well, I guess, since it’ll be turned into a video, (I was focused on) not playing the wrong sounds, things like that…… But I did make mistakes (lol). Well, it was of the level of ‘in one ear and out the other’ though.

H: What I was most concerned about was the performance side of things. Because I have a fear that once I do something I can’t reverse it (lol). I’m not particularly bothered by being filmed but rather, I thought that if I could do this as per normal, it’d be good.

Y: It’s definitely sound. I was nervous (lol). If the bass is played wrongly, it’ll turn into a mess so if that happened, I’d become the jerk, so I felt quite strongly that I simply had to avoid fails and did my best.

T: I guess, in terms of performance, I drummed more strictly than usual since this was going to be immortalised as a piece of work after all. I’m recently not too bothered about making my performance visually cool to watch. Though, when we debuted, I have thoughts along the lines of, “It’d be cool if I drummed in this manner” (lol).

 

3. How do you feel now, after the arena live is over?

A: (When the concert ended) I felt that I was able to present the concert itself in the form that I imagined it to be, so I felt satisfied.

I: I felt the same as usual but I do want to watch the video as soon as possible.

H: It was a live performance that left me feeling rather satisfied. And I’d expect that it was great too, with regards to the film side of things.

Y: We were able to build that atmosphere and we managed to do what we wanted to do as well. I felt that it was really well done on the whole, wasn’t it?

T: I feel that whatever it is, as long as we were able to end up with a good video, it’s all good.

 

4. Points to reflect on and points you were satisfied with after watching the video.

A: For that live, I felt that we were able to illustrate the band’s world so I’m satisfied. And I was once again able to acknowledge the staff’s abilities in a new light.

I: No reflection points. I’m very satisfied. With both the order of the songs and the overall atmosphere. Well, I guess this is thanks to the director, but I was satisfied with the way things were cut and all that.

H: Reflection points, not much. I could perform as per normal, so I don’t think it was all that bad anyway, and it wasn’t as if I was particularly enthusiastic because it was going to be turned into a video.

Y: Nothing to reflect on!! (Lol)   I think we were able to express what we wanted to express well. I’d give it about 98 points. Because if I gave it 100 points, we’d probably get told that we’ll never film anything ever again (lol).

T: There aren’t really any reflection points, are there? It’s just that I did more or less feel the pressure. As to what I’m satisfied with, I suppose it’s the fact that it doesn’t feel like I spent 90 minutes watching it after I finished the whole thing.

 

5. Considering both the filmography and performance, what’s your favourite song among from music videos and why?

A: Hyper Love ＝ We told the director how we wanted it to be filmed and we were able to express that clearly.

I: Chikashitsu no Melody (Melody from a Basement Room / 地下室のメロディ) ＝ Definitely because it feels like a live performance, and you can feel a sense of brutality from it.

H: Hyper Love = The fact that it feels large scale.
Taiyou ni Korosareta (Killed by the Sun / 太陽ニ殺サレタ) ＝ Simply put, because the imagery was great. But I honestly wanted to list all the songs from A to Z though.

Y: Hyper Love ＝ There are quite a number of highlights, and an interesting method of filming was employed.

T: Brain, Whisper, Head is Noise ＝ There are quite a lot of shots of the drummer (lol).

 

6. Apart from BUCK-TICK’s videos, please tell us about the music or videos that you like, including the artists and titles.

Atsushi Sakurai: 

① Bauhaus ／ Shadow of Love
The reason is the same as the answer to the first question.

② Sinéad O’Connor ／ I don’t know the title.
I admire the way she brings out her energy.

③ Morrie ／ Romansha no Direnma (Romanticist’s Dilemma / 浪漫者のディレンマ)
I think this was released soon after he went solo…… I like the bed scene (lol).

Hisashi Imai:

① LOVE & ROCKETS ／ LOVE & ROCKETS
The reason is the same as the answer to the first question.

② Public Image Ltd ／ Bootleg live
Because I like John Lydon.

③ Bauhaus ／ Archive
Even though it’s promotional, it has a storyline to it and the flow is really beautiful.

Hidehiko Hoshino: 

① David Lynch ／ ANGELO BADALAMENTI

② Sinéad O’Connor ／ The Year of the Horse
I just like her as an artist.

③ Madonna ／ In Bed With Madonna (also known as Truth or Dare)
I guess it’s left an impression on me but I wouldn’t really call it a favourite.

Yutaka Higuchi: 

① Bauhaus ／ Bootleg live
The lighting is really dark (lol). It’s a bit too dark to the point that I can’t see (lol).

② POLICE ／ Synchronicity Live
It’s got a variety both visually and musically speaking so it’s interesting.

③ Nothing.

Toll Yagami: 

① Grand Funk Railroad ／ Grand Funk live performance
(Forgot the title)
The drummer sings as he drums. And that was the only song by that band that hit number 1 on the hits chart (lol).

② Led Zepplin ／ The Song Remains the Same
I was speechless when saw the way the drummer looked like he was drumming at fast-forward speed.

③ The Who ／ The Kids Are Alright
I like that you could see The Who without makeup

 

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Translation: Yoshiyuki
Scans: buck-tickla-blog

 

 

BUCK-TICK | [15 Apr 2021] Sakurai Atsushi on NHK’s SWITCH Interview Tatsujin-tachi

Posted on by Yoshiyuki

Hiroshi meets “God”,
chats with BUCK-TICK’s Sakurai Atsushi who he has admired for 30 years

Natalie.mu
15 April 2021

 

 

Hiroshi chats with BUCK-TICK’s Sakurai Atsushi on the Saturday, 24 April broadcast of SWITCH Interview Tatsujin-tachi (NHK Educational TV).

This dialogue was brought about by an earnest request which Hiroshi sent Sakurai of BUCK-TICK, the rock band he has admired for the past 30 years. Hiroshi first came to know of BUCK-TICK when he was a freshman in highschool, and ever since then, has thought of lead vocalist and lyricist Sakurai as “God”. He was nervous when they first met, but with Sakurai’s unexpected frankness, the conversation began to flow as they spoke about his childhood musical experiences, his lyrical world, and the messages they hold.

In the second half of the show, Hiroshi teaches Sakurai the art of camping in a mountainous area abundant with nature. The popular personality who broke out with the catchphrase, “I’m Hiroshi,” (ヒロシです) also reveals how he stepped away from TV and got into solo camping.

 

SWITCH Interview Tatsujin-tachi ‘Hiroshi × Sakurai Atsushi’
SWITCHインタビュー 達人達「ヒロシ×櫻井敦司」

NHK Educational TV [NHK Eテレ] 
Saturday, 24 April 2021 at 22:00～22:50

 

 

Translation: Yoshiyuki

Source: https://natalie.mu/owarai/news/424521

 

BUCK-TICK | [Aug 1991] Kurutta Taiyou Feature – An interview with Hoshino Hidehiko

Posted on by Yoshiyuki

Kurutta Taiyou Feature

Rockin’ on Japan
August 1991

Interviewer: Ichikawa Tetsushi
Photographer: Somese Naoto

 

In Russian

 

 I’d like to produce a solo album before I die

Is this the long-awaited sprouting of his assertion, or is it just a mere whim? This is the Italian-casual* Hoshino’s “law of naturally-relaxed rock”.

 

 

 

⊳   This time around, Hide, you’ve given us your own specifications down to the concept for the shoot. That’s exceptionally groundbreaking planning coming from you.

Hoshino (H): (Lol) Is it?

⊳   Until now, you’ve never gone beyond your position as a member of BUCK-TICK even when we interview you, and you’ve turned a deaf ear to my goadings of, “Since the number of songs (you’ve written) has been growing, don’t you think it’s about time to compete with Imai?” ーー Though to me, it’s rather astounding that you’ve been so ordinary, so vacillating until now.

H: You’ve sure got a lot to say (lol).

⊳   For such a man to offer to “show up in my regular clothes rather than a costume”, wouldn’t I be surprised?

H: Yes.

⊳   Is there any particular reason for this?

H: I guess you could say that I’ve always wanted to do this. When the 5 of us are together, there’s definitely this part in me which can’t shed the unified image that we’ve had thus far, so I personally wanted to give this a go.

⊳   I suppose it’s true that BUCK-TICK is basically a band which doesn’t really appear unless it’s the 5 of you coming out together as a band unit, and at the same time, there are very few opportunities for (the members) to make appearances as individuals ―― It’s a very strange band in that sense, isn’t it?

H: Ahh, yeah.

⊳   Then again, has Hoshino Hidehiko ever made solo appearances thus far?

H: Technically, I have, but until now, it’s always been in the image of BUCK-TICK ―― Because that’s the idea which I had in my mind. Something like, even if I’m on my own, I have to be BUCK-TICK.

⊳   Though it’s true that BUCK-TICK’s got something like a restriction where you’re not allowed to change your visuals or style. Something like, “(whatever it is,) anyway, it’s just black!”

H: It’s just black (lol).

⊳   Come to think of it, how many years has it been since your debut?

H: Probably close to 4 years, I guess. I’m not too sure, though (lol).

⊳   Look here, you. But, anyway, it’s already been 4 years. Having fortified and shouldered BUCK-TICK’s perfect image while performing it all this while, isn’t it about time for you to start nursing a desire to show off a different style?

H: But, you see, even before now, (I’ve always thought that) the stage also establishes the image as a form of staging. Because I don’t think that I’m personally the sort of person whose personal wardrobe is similar to that sort of (stage) image.

⊳   True enough, you’re dressed with an Italian-casual flair. I don’t think that’s something I’ll ever see on BUCK-TICK’s stage.

H: (Lol) (I’ve only started wearing) these clothes recently though ―― Because it’s now summer (lol).

⊳   (Lol). Isn’t BUCK-TICK’s band characteristic to go all out with targeting out-of-the-ordinary qualities whether it’s in your music or your live performances?   As if you’re compelled to let out that once-warped version of yourself, or you’re unable to begin while in a naturally relaxed state. Though, Hide, you look like the kind of guy who fits into this routine the least.

H: Me?   Mmー……

⊳   The appearance of this time’s casual Hoshino Hidehiko is merely the tip of the iceberg, but if we’re talking about the other 4 members, their personal wardrobes look very similar to the way they dress when they’re performing as BUCK-TICK, so there’s a connection there, right?   But right now, Hide is completely separated from that, though.

H: …… I think that sort of aesthetic sense has been changing in terms of visuals too, for me. For example, the shift in preference from black to white and the like.

⊳   You’re probably the one with the most varied tastes in terms of music and the like, though.

H: Because it’s not in my nature to dig deep into things. I’m the type to pick up a little bit of everything. 

⊳   But isn’t BUCK-TICK’s sound the type which you can’t produce without going deep and immersing yourself in it?

H: Yeah, exactly. For BUCK-TICK, yes.

⊳   You’d probably end up listening to a lot of dark new wave music and transformative dance music to get it all in (lol).

H: (Lol) That’s true.

⊳   So, to me, I’m getting the feeling that the gap between Hoshino Hidehiko and BUCK-TICK seems to be growing a little bit wider. In the sense that when you’re on your own, you’re yourself, but when you’re performing as a part of BUCK-TICK, you’ll turn into BUCK-TICK’s Hide.

H: That’s why I say that it’s because I do have a kind of desire (to be myself).

⊳   And having given a shot at embodying this desire, what do you think about it?

H: It’s fun.

⊳   Objectively speaking, at the start of the shoot, (I saw) the simply BUCK-TICK-like expression you had on, except, (I thought,) “Hey, your eyebrows are too thick,” but it was symbolic of your returning to the fundamental Hoshino. It took quite some time, though (lol).

H: Thanks for saying that (lol). But really, I’m at a stage where I’m thinking that my tastes have really changed a lot ―― Be it in music or with my image.

⊳   Let’s say, for example, how exactly have your tastes in music changed?

H: When debuted, (I) was mostly (listening to) new wave, but with a darker tone. I started with Bauhaus and the Cure and so on; in a maniacal direction.

⊳   I guess, people from the village of BUCK-TICK, so to speak. How did things develop from then on?

H: That didn’t change, but it’s more like I ended up widening the variety of music which I listened to. For example, what I’m listening to now is calm and mellow jazz singers and other similar types. But I’m listening to Ministry too (lol).

⊳   Those two extreme ends are beyond far apart (lol). I can’t understand people who listen to both violent sounds and non-electronic** vocals at the same time. You really mean it when you say “widen”.

H: (Lol) Right?

⊳   You’re not picky when it comes to music?

H: I’m not.

⊳   But you’re saying that now you’ve got a thing for very beautiful melodies and non-electronic** sounds.

H: Yeah. (Music that is) melodious and calm.

⊳   During Kurutta Taiyou, you said that you “sought easy-listening”, so was it right around then when your preferences changed?

H: Rather than that, it’s more like I’ve always enjoyed easy-listening music, to begin with.

⊳   But for the past 4 years, there was none of that at all, was there?

H: I didn’t show it (lol).

⊳   Why?

H: I couldn’t show it (lol).

⊳   Was it a reservation that you had due to your consideration of BUCK-TICK’s image as a band and that it would be more fitting if you said, “I like positive punk*** and Bauhaus”?

H: Yeah. That’s because the idea that the music that we make and the music we listen to should be unified is something that I’ve always believed. Though really, now I can think separately about the music that I make and the music that I listen to.

⊳   The guitarist Imai Hisashi exists and he is the best person for you to compare with, though. In Imai’s case, it’s as if the music he listens to and the music he makes is perfectly one and the same, or rather, he listens to new music for the purpose of creating a new strange sound, so he’s quite thorough with using music for that one function, isn’t he? He’s on the other extreme end from you, Hide.

H: Yeah.

⊳   Was there ever a period when you were considering whether it would be better for you to try out Imai’s method?   Just, perhaps.

H: Yeaah. Well, doing that would be more for (the sake of making music for) myself, I think.

⊳   Even if you say it’s “for yourself”, I suppose it’s because you’d want to make music that makes you feel good sound good to you, or something like that.

H: Yes, exactly (lol). That’s what I mean, yes (lol).

⊳   And from there comes the existence of the “Acoustic Hoshino”.

H: (Lol) Who’s saying that?

⊳   Me. Although, Imai also casually mentioned that, “It’s Hide’s time to shine.”

H: Hahahaha. I wonder who made that decision.

⊳   But all of the acoustic guitar parts in BUCK-TICK’s songs are played by Hide, right?

H: Yeah. The very first time I did that was in Hyper Love and Illusion.

⊳   Is playing the acoustic guitar attractive to you?

H: I do like playing acoustic guitars. But in our early days, it was simply used to add flavour (to the songs), as an embellishment which could only be heard in the background.

⊳   Since that’s the case, I suppose you’d want to have a song that puts the acoustic guitar in the forefront, right? Personally speaking.

H: I do think that it could be good to have such songs too, but, it’s like, (I’m) still at a stage where I’m unable to do so, or something like that. Personally speaking (lol).

⊳   What is this “stage where you’re unable to do so” that you speak of?

H: It’s that. In short, it’s where I suck at it (lol).

⊳   (Lol) But you’re far more adept than Imai, though.

H: Hahahahaha…… Mhmm  (lol).

⊳   (Lol) But Hide’s naturally-relaxed melodious predisposition was revealed for the first time with this release’s Jupiter and it was an impressive acoustic number, wasn’t it? This result must also be satisfying for you, right?

H: That’s true. Well, it was a song that I decided to compose out of my desire to perform something acoustic. You could say that this was the first time that I composed with the acoustic guitar as the focus. I wanted to do this during Aku no Hana too, but when I played the acoustic guitar at home, it sounded noisy, so I only played my electric. For the demos too (lol).

⊳   What the heck. After Kurutta Taiyou was released, Jupiter was highly praised no matter what music magazine I picked up. Furthermore, it was remarked with, “This is the world of Hoshino Hidehiko.” In other words, among the general public, (you’ve actually got that image of) a “naturally-relaxed human being in actuality”.

H: That does seem like it. Shall I compose hard-hitting songs? Only intense hard-hitting songs (lol).

⊳   And what are you going to do if you distort yourself (lol). Though, what led to the birth of Jupiter is ultimately linked to your own personal changes, right?

H: …… Although, I think (of Jupiter) as something that I’ve always had (in me). In my mind, I feel that Jupiter might be exactly what my original musical sense is.

⊳   What was your very first musical experience to begin with?

H: The very beginning was definitely The Beatles after all. At the time I liked their early releases.

⊳   So ballad style songs are what moves you?

H: Seems like that recently. Look, man, the theme song of that TV drama, Mo Daremo Aisanai^…… That kind, you know.

⊳   (ROFL) Hoshino-san, mind, you’re no office lady. Though this does give off an exceptionally extreme feeling in its own way.

H: Sorry for being so extreme (lol).

⊳   Was this something that went through quite a transformation since the time BUCK-TICK was formed in your high school days?

H: After we formed the band, definitely ―― Yeah, I tried going in the maniacal direction and all that. I think maybe that’s when things started to change, though.

⊳   I think that it isn’t easy to achieve a balance between a maniacal sound and a beautiful melody in a song, but haven’t you ever any discomfort from this duality?

H: Not really, I guess you could say that I’ll accept anything. Both cool music and easy-listening music ――.

⊳   So they coexist as completely separate things to you.

H: Yeah.

⊳   You’re a dextrous man.

H: I suppose so (lol).

⊳   In other words, you’ve always possessed that extreme duality where you’re alright with both your normal self and the version of you who carries BUCK-TICK’s aesthetic style.

H: That’s probably the case.

⊳   Haven’t you ever lost that balance?

H: Well, it comes naturally, though.

⊳   But it can be quite constraining to simply remain as a part of this group that is BUCK-TICK, so have you wanted to revert to your original self?

H: In that regard, I have sought a place where I can unwind. The changes in my personal preferences could have been exactly that.

⊳   I’d expect you’d feel rather tired of being a part of BUCK-TICK all the time, won’t you?

H: I don’t know about how each of the other members feels, but for me, I think I definitely want to keep a part (of my life) private or personal in that sense.

⊳   Well, like I’ve said earlier, I think BUCK-TICK’s unique all-member exposure method works exceptionally well for a band, but there’s no personal expansion, is there? Well, you do get to do solo interviews at the same time, but what you end up talking about in the end is still BUCK-TICK’s activities or albums, right? I believe that if you want to grow as a performer, you’ll inevitably have to have this desire to show that you’re more than (the band). Don’t you get that desire? 

H: That’s…… That’s true…… Maybe it’s somehow showing itself this time.

⊳   So, is that the reverse of the kind of confidence which tells, “I have this in me too”?

H: Confidence…… that I have it in me, huh.

⊳   So, you have that confidence?

H: I don’t.

⊳   (Lol) Good grief, you.

H: Understood (lol).

⊳   With 3 best songs recorded on Kurutta Taiyou, I asked whether it’s about time that you found your own pride as a composer who won’t lose to Imai, and you said, “I’ll include that sort of assertion in my solo album.” I thought that you might’ve been joking so I didn’t publish it in the magazine, but when I read your interviews with other magazines, (that statement) showed up in almost all of them, didn’t they? (Lol). I don’t mean to be rude, but were you serious when you said that?

H: (I just thought it might be nice) if I could produce such a solo album before I die――。

⊳   (ROFL) Look here, you.

H: (Lol) Well, that’s an exaggeration, but I do have the intention of trying. If I ever were to do it, I’d want to produce something that’s not along the lines of BUCK-TICK anyway.

⊳   When did this idea of a solo album come about? I assume it was after you completed Kurutta Taiyou?

H: Nope, I think it might’ve been around Aku no Hana’s time.

⊳   Well, then that means your confidence had already begun to sprout at the time of Aku no Hana.

H: Yeah. When I’m composing as a member of BUCK-TICK ―― since BUCK-TICK is made up of us 5 ―― I more or less find myself in something like a dilemma during the composition stage. In the sense that I can handle it all on my own if I were to use step recording myself.

⊳   In short, you constantly have these constraints where you have to consider Anii’s drums or Yuta’s bass in your head at the composition stage. Sort of like they’re requirements.

H: That, there is. Always, during songwriting.

⊳   Have you ever composed music that’s not in that category? That’s not meant for BUCK-TICK?

H: That’s why when I think about those conditions, it’s like, even if something comes to mind, it’s not as if I have any reason to make it, or even if I do, nothing would be done with it anyway.

⊳   So you’ve never fully fleshed one out before.

H: Yeah, I’ve never made anything concrete. Even if the image and the lyrics of a song come to mind, the moment I start thinking about the individual parts like the drums, the bass, the guitars, I’d get into a BUCK-TICK mindset and bring the song closer to BUCK-TICK(‘s style). That’s the kind of work that I always put in.

⊳   That, that. That’s where I think Hoshino Hidehiko’s problem lies. The thing that made it hard for me to get into your new album’s Henshin and Angelfish was how I could hear that you were far too conscious about the band. As in, there was too much work put into making it sound like BUCK-TICK’s work. I believe the reason why Jupiter was said to be “Hoshino-like” and “B-T’s new tone” is because there was barely much modification made. That’s why the essence of Hoshino Hidehiko shone through smoothly. Perhaps it’ll be more interesting if you tempered down that self-consciousness.

H: I guess I do end up being self-conscious.

⊳   I’ve said this before too, but it’s good for Hide to be an “orthodox man who fears”.

H: (Lol) This again?

⊳   I’ll say it as many times as I want (lol). You see, Imai’s methodology of  “I’ll do anything as long as it’s weird and new!” itself has already been recognised as one and same with BUCK-TICK’s own methodology. That’s why there are no normal elements in any one of the members of BUCK-TICK, right?   Like this, if the actually normal-dispositioned Hide could express himself honestly, Hide’s orthodoxy will instead be unorthodox and fresh for BUCK-TICK. That’s what Jupiter is.

H: I’m aware of that (lol).

⊳   How about you try writing a song without thinking about BUCK-TICK for once?

H: Yeah, I suppose.

⊳   But why won’t you?

H: I didn’t have the time, I’ve wasted it away (lol). Though, I’m thinking to do something experimental like that if I have a lot of time during this round’s time off or if I’ve got extra time.

⊳   What kind of ideas do you have in mind, for example?

H: I’ve got quite a few. Like trying to play everything acoustically, or doing everything through step recording, and so on. It’s extreme (lol) but there are quite a few things I want to try doing.

⊳   If you’re already thinking about it, then just do it already. Well, although I guess we could say that it’s progress enough that you’ve even established an idea (of what to do) ―― Can I call this a sign of confidence? (Lol).

H: Yes!   More like, you’re getting me so desperate, I don’t know what to do (lol).

⊳   (Lol) Seriously though, didn’t that high praise for Jupiter feel good?

H: Honestly, everyone was far more receptive to it than I expected so (I was actually more surprised). I was quite worried about it in the beginning, thinking, “I get the feeling that people are going to say that this song is drifting,” though (lol).

⊳   Heh. That it’s rather adventurous coming from Hide, huh.

H: It was certainly an adventure when I was composing it. The song suddenly starts with an acoustic guitar from the chorus, doesn’t it?   While composing, I’d find myself wondering, “Is this okay?” (lol).

⊳   I get the feeling that’s also coming from being too conscious of BUCK-TICK, but Hide saying this proves that this is a very un-BUCK-TICK-like song, doesn’t it?

H: Yes, exactly. Then again, there are quite a lot of people who also said that Jupiter is “BUCK-TICK-like”, though――.

⊳   How puzzling (lol).

H: Isn’t it?

⊳   Just as an example, the BUCK-TICK-ness which Hide grasps, what is it like?

H: It’s most certainly the somewhat illogical songs which Imai-kun writes after all. This is something that I’m pretty intensely aware of.

⊳   Is that why you deliberately try to twist your own songs when you compose? Like, distort them or something.

H: Well, I’m already familiar with Imai-kun’s songs, so I can do it naturally, though. But I guess it’s true that there are songs which I intentionally bent when composing them.

⊳   And that’s why I can only say that you’re the “orthodox man who fears”. In fact, your natural and melodious taste in music, the everyday vibe that you give off when dressed in Italian casual, your straightforward self-expression is all interesting enough as you are. And when you’re composing music, isn’t it actually easier to write in a straightforward manner?

H: For me? It is.

⊳   Between chords and melody, which comes first?

H: In the beginning, I would mostly start by composing the melody first. But recently, the chords more often come first. The melody comes last now, I’d compose the bass line too.

⊳   When you used to start with the melody, isn’t figuring out the chords quite a difficult chore afterwards?   Just, perhaps.

H: It was. It was tough, very much so.

⊳   Wouldn’t you at that point ignore music theory and go with some nonsensical chord progression?

H: I would (lol). I did that, I did. That’s why, now, if I come up with the chords first, my job would then be to pick the best melody out of a limited choice, so these days, I’ve come to think that this way is better for me.

⊳   But if the chords come first, I’d assume that it’d be difficult to make your songs sound like the typical twisted BUCK-TICK songs done in Imai’s style.

H: Can’t really bend them, right?

⊳   That’s why I think that the present method of chords-first is suitable for Hide’s straightforward disposition.

H: It’s a good fit, isn’t it (lol).

⊳   That’s just what I think, anyway. Because don’t you feel that Jupiter’s melody was particularly free of discomfort and harmonious with a clean chord progression?

H: It was a very simple chord progression, though.

⊳   That’s exactly what gave me the feeling that “This doesn’t sound like BUCK-TICK.” Because whether it’s Imai’s songs or Hide’s songs thus far, the majority of the music have incomprehensible chord progressions for BUCK-TICK.

H: You’re right, that’s true.

⊳   When you used to compose melody-first, I think it’s inevitable that Imai’s melodies, or in other words, BUCK-TICK’s melodies will subconsciously start playing in your head, making it easy for them to exert influence over your compositions.

H: They’d end up getting replicated, yes.

⊳   When that happens, you’ll twist, or something.

H: I’ll twist (lol).

⊳   I’d say that this change in composition approach, too, is a major factor which contributed to the birth of Hoshino Hidehiko’s essence that we see in Jupiter.

H: I think that’s probably true.

⊳   It’s really easy to understand, isn’t it?

H: Thank you. Is this clear, everyone? (Lol).

⊳   That said, your own musical style has come through in spite of everything you’ve gone through, and now Hide, you’ve started to value your own personal qualities too ―― So I think it’s time for me to ask you if you would fulfil my heart’s desire and dish out the great “Declaration of Hoshino Hidehiko’s Assertion”.

H: (Lol) Again?

⊳   You say “again”, but every other time I’ve interviewed you and tried to rouse you to assert yourself, you’ve never once lived up to my expectations, though (lol).

H: (Lol)

⊳   BUCK-TICK itself will definitely be a lot of fun when there are multiple Hoshino-flavoured straightforward songs being thrown into the mix, though. Without a doubt.

H: Mm… I think that’ll be difficult……

⊳   Difficult?

H: In terms of harmonising on all fronts. Both musically and image-wise.

⊳   It’s not as if I’m talking about getting on stage dressed in Italian-casual, though?   Rather than saying that it’s difficult and all that, don’t you have any sort of “I want to do it so I’ll do it!” impulse?   Can’t you run wild?

H: I can’t (lol).

⊳    …… Why?

H: I’m still very conscious of being a band after all.

⊳   Oh, geez, you…… Please, just throw in 3 or 4 fresh songs like Jupiter. It’s fine.

H: If I can play it my way…… I think it’ll be alright, though.

⊳   Then, do it.

H: I’ll try (lol).

⊳   Come on, we’re not talking about other people here. The band’s overall essence is definitely crucial and that’s, of course, something that you can’t make light of, but don’t you want to have your own individuality? To make people think, “So this is the kind of guy Hoshino is,” or, “When it’s his work, it’ll definitely turn out like that.”

H: Mm…… Well, in any case, not yet, I suppose. Like I’ve said earlier, if I were to do something, I’d want it to be for my solo.

⊳   Why do you do this, splitting yourself into two parts between going solo and being in the band?   I wonder what’s the root of this sense of differentiation.

H: Makes you wonder, doesn’t it? What it is (lol).

⊳   Have you ever thought of sorting out either side of your two extreme dispositions?

H: At present, I feel that I can bring out myself better with this duality. Like, it comes out naturally.

⊳   On the contrary, don’t you think the fact that there’s a part of you which desires to be naturally-relaxed is more like an excuse to perform as BUCK-TICK, like an oxygen cylinder? More specifically, it’s as if it’s somehow easier that there are 2 versions of you.

H: That’s true (lol). That it’s somehow easier.

⊳   When I received Hide’s proactive offer of, “I’ll wear my regular clothes (for the shoot)”, I got so excited thinking, “It’s finally here!   That assertiveness! That assertion I’ve been waiting for!”, that I even secured 8 pages for you.

H: Hahaha. Really?

⊳   I’m taking Hoshino Hidehiko’s steady progress in stride, though.

H: Actually, I think that’s true too. Right now, we’re discussing the schedule for our next album, but I’m feeling like I want to get it out as soon as possible or start writing as soon as possible or something.

⊳   That’s also a sign of confidence.

H: You’re right. But, well, this interview already feels like a solo.

⊳   So is that to say that this interview of mine is a replacement for the solo album that we’ll never know when it’ll be released?

H: This is the solo album itself (lol).

 

 

 

 

 

Notes:

* Describing his style.

** The exact word used here was “ナチュラル (natural)” but we’re not talking about literally sounds of nature here. Rather, we’re comparing that in contrast to dance music so I’m going with “non-electronic” instead of literally translating it as “natural”.

*** Apparently, gothic rock was originally coined as “positive punk” in 1983.

^ もう誰も愛さない – A drama produced by FujiTV which ran from April to June 1991. I guess this is the song: https://www.youtube.com/watch?v=KWGhYSHrYp8

 

 

 

Translation: Yoshiyuki
Scans: spanielonthemoon on Tumblr

 

 

BUCK-TICK | [Feb 1989] Taboo In Taboo

Posted on by Yoshiyuki

Taboo in Taboo

B=Pass
February 1989

Interview: Yasue Matsuuba
Photography: Masaaki Toyoura
Styling: Sayuri Watanabe
Hair & Make-up: Masashi Nakayama
Costume: arrston volaju, Crazy Cat HARAJUKU

 

The emotions that lie dormant deep inside humansーthat is the insatiable desire, the ego, essentially the cruel and destructive aspects. In our everyday lives, we live with them by covering them under a lid we call rationality, but at a whim, for example, when we love someone, we may happen upon those emotions of ours. Because they are honest emotions, they are also beautiful in their own twisted way… The theme of BUCK-TICK’s 3rd album, TABOO, is an eternally elusive love, and it is an ambitious work that exceptionally and beautifully cuts deep into the inner workings of a human. As we go beneath their surfaces and explore, we bring to you BUCK-TICK’s first special front cover feature.

 

 

 

 

Individual Q&A

_______________________

Sakurai Atsushi

I want to kill it all with my own hand.*

・What is the city of Tokyo to you?
It’s all so vibrant that it doesn’t work well for me, or something… Though in the first place, it’s not like I came to Tokyo because I was fascinated by that aspect of it.

・Is Tokyo a utopia to you?
No. In truth, anywhere’s fine. Even if I can’t pick a place. Right now, I’m in Tokyo because of BUCK-TICK, but I’ve long ago given up on finding a place to live or settle down in. It’s not painful, not particularly. It’s a problem that’s easily solved as long as I don’t have to go out or don’t have to go to crowded places. It’s not a big issue. But, this place isn’t a utopia, and I don’t particularly like it or hate it.

・What kind of people are your neighbours?
I’ve only ever caught glimpses. A normal university student.

・What is privacy to you?
When I’m not standing on stage. When I’m not doing interviews. When I’m completely separated from music, that’s all privacy.

・Do you think that you have privacy?**
Nope. Though I suppose it can’t be helped to a certain extent. I’m sure that people consider BUCK-TICK’s Atsushi and Atsushi Sakurai in his private life as “the same”. I suppose if they see me off stage there’s a stronger sense of intimacy too… It can’t be helped that it can’t be split apart.

・Methods to work off frustrations?
Nothing in particular… Aren’t I always in a situation where I can soon work off my frustrations even if I do have them? Even so, if I can’t stand it anymore, I’d only say something like “shut up, go away”.

・Do you think that you’re a person with moral standards?
At the very least (lol) I think that I am.

・So, what are morals?
Firstly, greetings. Feelings of gratitude. Feelings of apology. Be thankful, have a conscience, having compassion. I think that’s good enough. But it’s very important.

・Do you think that BUCK-TICK is being misunderstood?
Yes. I think that we’re a band that can probably be captured in a number of ways.

・How can this misunderstanding be resolved?
Just let people think what they want to think of us. We won’t ever change.

・What are prejudices to you?
Irrelevant things. Perceived notions. Egoism.

・Are you someone with a big ego?
If I had to do unpleasant things to improve my relationship with people, then it’d be easier for me to be alone. A person who isn’t self-centred doesn’t exist.

・Do humans need an ego?
Even if people say (nasty) things about me, I want to keep a part of me that I won’t compromise. So, to me, it is necessary.

・Do you think that cooperativeness and flexibility is needed in society?
In my elementary school reports, I’ve always been described as lacking in flexibility and cooperativeness though… I do think that I’m lacking in those aspects too. But I don’t think that it’s something that a person has to force themselves to fix.

・Do you think that war will disappear from this world?
War won’t disappear from this world unless humans lose their fighting spirit.

・Have you ever lost yourself by drowning in ecstasy?
To the extent of losing myself? Well, in no small measure, yes. I can explain it, but I think it’s kind of impossible to publish that in a magazine.

・Have you ever hated someone so much that you wanted to kill them?
I have. I don’t want the detailed story behind that to be printed in a magazine.

・Have you ever loved a woman to death?
Yes.

・Have you ever liked someone of the same sex?***
Yes. It’s different from the way I like women, and he’s someone who possesses what I don’t have. He’s kind, he’s manly, he sings well…

・Do you accept homosexual love?
Yes. Because they do what they feel is right.

・Regarding incest?
I think it’s fine. For me, if my children were to do that, I’d think that it would be cute… Even if things don’t turn out that way, I get the feeling that I’d understand those feelings. I think that it’s alright as long as they’re both of the same mind.

・Can you love 2 women at the same time?
I think that’s kind of impossible… I suppose, a person who chases after rabbits won’t even get one, after all (lol).

・Have you ever loved 2 women at the same time?
No, I think…

・Have you ever thought of wanting to die?
Yes, when I was young. Like “I hate having a home like this!”.

・Regarding suicide?
Without an older brother, or parents, if there was no one who would grieve over me, it’d be fine. When I think about the grief of those who I’d be leaving behind, I can’t choose death.

・Have you ever considered committing a lovers’ suicide? If the love between you and your partner cannot be fulfilled, will you choose death?
I’ve never considered it, and I won’t choose death. I’ve never loved like that before. But if I loved someone so much that I wanted to kill them and I did do it, I think I’d die too.

・Have you ever had an abortion?
No.

・Do you agree with the idea of getting an abortion?
Depends on the time and situation.

・Have you ever experienced an ecstasy greater than sex?
No.

・Have you ever had sex without love?
No.

・Can you live without love?
I don’t know. Because there’s no situation where there is no love involved. I won’t know unless we’re in a situation where love has disappeared from this world… In that sense.

・Are you presently in love?
All the time.

・What do you think of Japan’s marriage system (one husband one wife, marriage registration, etc.)?
I’m not particularly concerned about it. I think it’s unrelated. I might be a determined bachelor. I’m lazy, and I like being alone too…

・So, what about divorce?
If you were going to do that then don’t get married to begin with!

・Do you have any interest in drugs?
Yes, just a mere interest…

・Have you ever fallen into a state of delirium?
I don’t know but… probably not. I’ve been in a state of confusion, or rather, emotional instability before. Is being on edge the same as being in a mentally unstable state? If that’s the case then it often happens to me during tours. I’ve no choice but to control myself then.

・Are you capable of throwing away your lover for the sake of your own desires?
Yes. After all, I’m cute. I’m self-indulgent… Whatever I want to do comes first, and I don’t think of anything or anyone like my lover. I’m selfish, aren’t I? Truly.

 

Notes:

* Lyric translations come from This is NOT Greatest Site. This particular lyric comes from Silent Night.

** The original form of the question would literally translate into “Do you think your privacy is being protected?”. In present-day context, this takes on a rather different meaning, thus my choice of wording.

*** “好き” was the word that was used in this question. It can be interpreted as a simple “like”, as in “I like cake”, or as “love”, as in “I love you”. The different members definitely took liberties with the possible interpretations of this word, so I went with “liked” instead of “loved” since the “like” spectrum can also include “I like you and I want to date you” situations. [Yay for Japanese vagueness!]

 

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_______________________

Imai Hisashi

The warmth of your breasts and my faithless sin.*

 

・What is the city of Tokyo to you?
A place where you’ll quickly start to fall and get swept away if you become lazy. But I think that it’s the most exciting city in the world.

・Is Tokyo a utopia to you?
There might be a dangerous side to it but probably, yes. It’s a mysterious city.

・What kind of people are your neighbours?
I heard from the people I’m living with that they’re someone who works at a pet shop. Sometimes I can hear cats meowing.^

・What is privacy to you?
When I leave the stage. All of my time that’s away from the stage.

・Do you think that you have privacy?**
I don’t think so. Please stop prying into my privacy.

・Methods to work off frustrations?
Getting on stage. And also, drinking to your heart’s content. That might get rid of it temporarily though.

・Do you think that you’re a person with moral standards?
I don’t make a conscious effort to keep to it, but I might be keeping to it.

・So, what are morals?
The balance of society. A tacit understanding. But the existence of it has been thinning out in recent times.

・Do you think that BUCK-TICK is being misunderstood?
Yeah. The part where judgement is passed on us based on our looks. We incorporate a variety of things into our songs too, so they’d say things like, we don’t have a message, or that we’re weak or soft, and whatnot.

・How can this misunderstanding be resolved?
By not making music just for that purpose.

・What are prejudices to you?
First impressions.

・Are you someone with a big ego?
I think I tend towards that. I always want to be free.

・Do humans need an ego?
Yes. They need to be selfish for themselves.

・Do you think that cooperativeness and flexibility is needed in society?
I suppose it’s necessary, but I don’t think I can find it in myself.

・Do you think that war will disappear from this world?
I would like to think so. If all earthlings could ride a rocket into space and take a look at the earth just once, don’t you think they’d more or less calm down?

・Have you ever lost yourself by drowning in ecstasy?
I have. I can’t explain it in detail.

・Have you ever hated someone so much that you wanted to kill them?
Nope. I’ve never hated before either. To get driven to that extent…

・Have you ever loved a woman to death?
Nope.

・Have you ever liked someone of the same sex?***
I have. As a person.

・Do you accept homosexual love?
Yes. There are lots of such people in this world.

・Regarding incest?
No way. I can’t believe it.

・Can you love 2 women at the same time?
I can’t. I’m not that skilfull.

・Have you ever loved 2 women at the same time?
I’ve never. I don’t think that this is what love is.

・Have you ever thought of wanting to die?
Nope. I’ve never brooded to the point of wanting to die, and I’d forget bad things. That’s because I’m basically a forward-looking, optimistic person.

・Regarding suicide?
I don’t want to approve of suicide. You’re not thinking about the people around you, are you? Aren’t you only thinking about yourself? If you think about the people who will grieve after you died, you can’t choose death, and death isn’t something to pick either.

・Have you ever considered committing a lovers’ suicide? If the love between you and your partner cannot be fulfilled, will you choose death?
I won’t choose death. I’ve never thought about it. I’ll somehow push through optimistically, while keeping things as they are, without dying.

・Have you ever had an abortion?
I’ve never.

・Do you agree with the idea of getting an abortion?
Yes, because there are times when it has to be done. But it’s not something that can be decided on one-sidedly.

・Have you ever experienced an ecstasy greater than sex?
I’ve never. Or rather, there are different kinds of ecstasies, and I think that they can’t be compared to each other. Since those things are sensory-based.

・Have you ever had sex without love?
I have. There’s no need for me to explain this, right…

・Can you live without love?
I’ll suffer, but I can survive. I think.

・Are you presently in love?
Yes. I don’t want to explain with specifics.

・What do you think of Japan’s marriage system (one husband one wife, marriage registration, etc.)?
Simply put… Isn’t it fine? For example, for me… It’s not like that but, I don’t think that anything changes with that one piece of paper… In any case, I suppose it’s a formality… I don’t want to be tied down but I guess a person might feel a sense of relief by submitting it… Honestly speaking, I’ve never done it before so… I don’t understand the significance of that piece of paper or anything like that well.

・So, what about divorce?
I think that it’s mainly a problem that revolves around feelings. Even if two people stayed together or remained married to each other for any longer… I guess this is something that occurs when they decide that they can no longer stay like this. But aren’t there a lot of people who don’t go through with it even though they have emotionally become like this? I’ve never done it before so I don’t really understand it. Seems troublesome.

・Do you have any interest in drugs?
I do. Like, I wonder how it feels to be able to hear sounds and see things. Basically, I like things that make me feel good, so. However, even if I’m interested, with regards to whether or not I’d actually do it, that’s a completely different thing though.

・Have you ever fallen into a state of delirium?
More or less…

・When, and at what point in time?
I don’t really want to say. Whatever it is, I don’t really want people to see that side of me, neither do I want them to know about it, so. Though it was more like a time when I was emotionally unstable than delirious… I’m vain, I put on airs, so I don’t want to show that I’ve lost confidence in myself, or that I’m depressed, I don’t want to let others see that. And that’s why, I may look like someone who is composed, but that’s the kind of guy I am. In the first place, I don’t like emotional outbursts, like getting angry and the sort so… It’s not that I’m suppressing my emotions, but I think it’s more like the fact that I’m not a very emotional person.

・Are you capable of throwing away your lover for the sake of your own desires?
Yes.

・Can you concretely illustrate that object of desire?
To me, that’s BUCK-TICK and nothing else. That’s the kind of guy I am.

 

Notes:

* Lyric translations come from This is NOT Greatest Site. This particular lyric comes from Embryo.

** The original form of the question would literally translate into “Do you think your privacy is being protected?”. In present-day context, this takes on a rather different meaning, thus my choice of wording.

*** “好き” was the word that was used in this question. It can be interpreted as a simple “like”, as in “I like cake”, or as “love”, as in “I love you”. The different members definitely took liberties with the possible interpretations of this word, so I went with “liked” instead of “loved” since the “like” spectrum can also include “I like you and I want to date you” situations. [Yay for Japanese vagueness!]

^ Gender of their neighbour(s) was not specified.

 

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_______________________

Hoshino Hidehiko

I love you so much I could die, you’re too lovely.*

・What is the city of Tokyo to you?
Even now, I think that it’s an exciting city. There was a different kind of excitement in the beginning too. Just that alone makes it a city where all kinds of things are being born at a fast pace. Because it’s restless.

・What kind of people are your neighbours?
I’ve only ever seen them once, but they wore spectacles.^

・What is privacy to you?
Parts (of me) that I don’t want people to get into. Parts that I absolutely have to protect, no matter what.

・Do you think that you have privacy?**
Rather than having my own privacy, it’s more like a feeling of isolation.

・Methods to work off frustrations?
I can’t really stand being frustrated. That’s the kind of nature I have.

・Do you think that you’re a person with moral standards?
I think I’m normal. I pee in the streets (lol), I litter with my empty cans (lol). Everyone does a little bit of light moral breaking, right?

・So, what are morals?
Well, I wonder (lol).  Something that is necessary for a person to decide how they respond to things. Because without that, the world would be in a bigger mess than it already is.

・Do you think that BUCK-TICK is being misunderstood?
Probably.

・How can this misunderstanding be resolved?
With us continuing what we do.

・What are prejudices to you?
Not something I want to have.

・Are you someone with a big ego?
Doesn’t everyone have a part of them that doesn’t want to give in to others?

・Do humans need an ego?
This isn’t only for me, but I think that each of the members, and as BUCK-TICK, we all have a side of us that values our own egos. I believe that a person’s personality would otherwise disappear. We’d be met with the question of ‘what the hell am I without BUCK-TICK?’. Humans do need an ego, for the fibre of one’s being.

・Do you think that cooperativeness and flexibility is needed in society?
To a certain extent. You can’t live alone after all…

・Do you think that war will disappear from this world?
It won’t disappear. Weapons are being built in secret, and I think that fighting spirit won’t disappear from humans anyway.

・Have you ever lost yourself by drowning in ecstasy?
Nope.

・Have you ever hated someone so much that you wanted to kill them?
Nope. No matter how much I hate someone, it was never to the point of wanting to kill them. Besides, I’ve never really hated a person.

・Have you ever loved a woman to death?
I have.

・Have you ever liked someone of the same sex?***
‘Like’ as in, not romantic feelings, right? I’ve liked someone, but I’ve never loved.

・Do you accept homosexual love?
Accept it, well, rather… Isn’t it fine?

・Regarding incest?
Pitiful. I’ve never done it so I don’t know but… I suppose that’s obvious.

・Can you love 2 women at the same time?
I can’t.

・Have you ever loved 2 women at the same time?
Nope. But you can’t love another when you already love one person, right? It doesn’t seem possible to do so equally between two…

・Have you ever thought of wanting to die?
I might have. I forget bad things.

・Regarding suicide?
It’s okay to do it if you’re not going to inconvenience others. But I think that this is probably an impossibility in most cases. Because, you see, you’ll definitely be causing someone grief, so.

・Have you ever considered committing a lovers’ suicide? If the love between you and your partner cannot be fulfilled, will you choose death?
I won’t choose that. I don’t think that this is what death is.

・Have you ever had an abortion?
I have not.

・Do you agree with the idea of getting an abortion?
I do think that there are cases where it is the only choice that is available. It’d be weird to say that there’s no choice, but there are people who do not have any other option but to do that, right? For sure.

・Have you ever had sex without love?
… … Please leave that as my answer (lol).

・Have you ever experienced an ecstasy greater than sex?
Um, no (lol).^^

・Can you live without love?
Hmm… I wonder. I think that there are cases where I can live even without love. Like if I’ve found a way to live life beyond love, or something like that. But I don’t like that though. Having love is better, otherwise it’s kind of lonely, isn’t it? It’s like you’re trying hard to go on without love.

・Are you presently in love?
… … (lol) Well, rather, I want to always be in love, not just for now. Because I don’t want to become lonely.

・What do you think of Japan’s marriage system (one husband one wife, marriage registration, etc.)?
Isn’t it fine as it is? Because it’s up to you whether you want to follow the system or not. You probably don’t have a choice if it’s something that required by law, but it’s not exactly forced, right (lol). If someone wants to do it, they can just go ahead with it, right? I think that’s probably what it is. I’ve never thought deeply about it.

・So, what about divorce?
It’s the same for this as well. However, it’s a more severe situation that getting married, and there are problems that revolve around it too, so it’s rather troublesome, isn’t it. But if splitting up is better for both parties, I think it would be better to split up even though it might be a sad thing to do so. Not just one person is suffering, but both people are probably similarly suffering. I think that this is definitely not something that happens just because of one person’s selfishness as the cause. But having everything end with just one piece of paper, it’s quite heartbreaking, isn’t it.

・Do you have any interest in drugs?
Yes but… That’s all. It’s just a mere interest.

・Have you ever fallen into a state of delirium?
Nope. That is referring to a state where I don’t even know what kind of state I’m in, right? That’s kind of scary, isn’t it, losing yourself. I suppose that’s a form of losing the balance in your mental state. Humans are fragile, so there’s definitely a part of them that fears the possibility of becoming like that somehow someday though. I suppose, luckily for me, I’ve never been like that before.

・Are you capable of throwing away your lover for the sake of your own desires?
I can’t. Desires and love can’t be measured against each other, right? Furthermore, the expression “throwing away” is distasteful.

 

Notes:

* Lyric translations come from This is NOT Greatest Site. This particular lyric comes from Taboo.

** The original form of the question would literally translate into “Do you think your privacy is being protected?”. In present day context, this takes on a rather different meaning, thus my choice of wording.

*** “好き” was the word that was used in this question. It can be interpreted as a simple “like”, as in “I like cake”, or as “love”, as in “I love you”. The different members definitely took liberties with the possible interpretations of this word, so I went with “liked” instead of “loved”, since the “like” spectrum can also include “I like you and I want to date you” situations. [Yay for Japanese vagueness!]

^ Gender of their neighbour(s) was not specified.

^^ His answer to this question was “ない、です” with the comma indicating a moment of hesitation in his reply, thus the “Um”.

 

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_______________________

Higuchi yutaka

Crumbling, melting, cracking.*

 

・What is the city of Tokyo to you?
I’m already used to it but I have the impression that it’s hectic. It’s more like a place of work than a place to live at.

・What kind of people are your neighbours?
A husband and wife and their two children. I wonder what they think of me (lol).

・What is privacy to you?
Time outside of BUCK-TICK. It’s precious time.

・Do you think that you have privacy?**
More or less…

・Are you frustrated?
I don’t have time that I can take to think about myself.

・Methods to work off frustrations?
You mean, an outlet? Drink alcohol (lol).

・Do you think that you’re a person with moral standards?
I think I’m just a normal person though…

・So, what are morals?
Standards that different people have different perceptions on… I think.

・Do you think that BUCK-TICK is being misunderstood?
Yes. Quite…

・How can this misunderstanding be resolved?
By continuing to perform our lives. There’s no other way than to continue producing “BUCK-TICK”-esque albums.

・What are prejudices to you?
It’s not something that you have of yourself, but something that others have of you.

・Are you someone with a big ego?
I don’t really know.

・Do humans need an ego?
I don’t really know.

・Do you think that cooperativeness and flexibility is needed in society?
A person can’t live alone after all, so I do think that it is necessary.

・Do you think that war will disappear from this world?
It won’t go away. Because humans are competitive by nature.

・Have you ever lost yourself by drowning in ecstasy?
Yes. It was a momentary occurrence though. I think that ecstasy is probably something that is short-lived, fleeting.

・Have you ever hated someone so much that you wanted to kill them?
No. That emotion of wanting to kill someone is too scary for me. Even if I hate someone, even if they disgust me, I’ve never thought of killing someone.

・Have you ever loved a woman to death?
I have. To the point that I’ve bent over backwards for her.

・Have you ever liked someone of the same sex?***
Nope. I’ve never had any romantic feelings (lol).

・Do you accept homosexual love?
I’ve never experienced it so I don’t know but… To me, it’s kind of gross but… It’s like the feeling of, “I guess such people do exist in this world too, huh”.

・Regarding incest?
I can’t believe it (exists).

・Can you love 2 women at the same time?
I can’t. I think that it would be a lie for me to say that I love them both. It’ll mean that I’m lying to both of them. I’d be lying to myself too.

・Have you ever loved 2 women at the same time?
I’m incapable of that.

・Have you ever thought of wanting to die?
I guess not… No matter how much I’m suffering or how troubled I feel, it’ll somehow all work out, and we’re here anyway… No matter how difficult things are, I want to live. Because, I think that I won’t be able to escape that pain even if I die.

・Regarding suicide?
I think that suicide is nothing more than running away. God definitely exists so you can’t be the one to decide if you live or die. All humans will die one day, so you shouldn’t make your own decision on when you want to die.

・Have you ever considered committing a lovers’ suicide? If the love between you and your partner cannot be fulfilled, will you choose death?
I’ve never thought of that. If I have to go as far as to choose death, then I’d prefer things to just remain as they are. Though, I personally won’t choose to commit a lovers’ suicide, but I think that this is something that can only be established if both parties agree to it. It’s not something that you can do if it’s over a one-sided and short-lived emotion.

・Have you ever had an abortion?
What a question (lol). This question, its too much^, isn’t it (lol).

・Do you agree with the idea of getting an abortion?
Depends on the time and situation. This, again, isn’t something that can be done based on one person’s decision alone. You’ll be ending a person’s life too… For me, I don’t want to agree with it. But, after all, since I’m a man, I won’t be able to understand a woman’s feelings about this.

・Have you ever had sex without love?
Yet another horrible question (lol). I’ll leave my answer as “?” (lol).

・Have you ever experienced an ecstasy greater than sex?
I don’t think there’s anything greater than having sex with the person you love. So for me, it’s a no.

・Can you live without love?
I can’t. I have a lot of love in me, and it is not only limited to the love that I have exclusively for women… For me to not dry up, I really want to cherish the feeling of loving anything and everything. Be it brotherly love, friendship, or even BUCK-TICK. It’s like… I think that if my love for all of these things disappear, won’t I be the one who suffers the most in the end? That’s why, if there’s no love, I can’t live. I think it’s a very important emotion.

・Are you presently in love?
In that sense, I’m always in love.

・What do you think of Japan’s marriage system (one husband one wife, marriage registration, etc.)?
Nothing in particular… Or rather, I think that people who want to get married will get married even without considering the system, and those who don’t want to won’t anyway… Even with regards to marriage registration, I think that it’s just another kind of formality but it’s something that people will carry out if they want to. If they don’t want to, isn’t it enough as long as the couple considers themselves as husband and wife? Because I think that there are people who have registered but aren’t actually husband and wife. In short, it’s about the feelings between the couple. That’s the most important thing.

・So, what about divorce?
I think that this is an issue regarding the couple’s feelings. Because a person’s feelings doesn’t change as simply as getting a scrap of paper and then declaring “Alright, from today on, we’re strangers”. Though the arrival at that point is the result of the build up of all kinds of emotions in each of them. But no one gets married with the thought of getting a divorce.

・Do you have any interest in drugs?
I do. I do but… I’m not so interested that I’d break the law for it. Because, well… isn’t it a crime after all? No way.

・Have you ever fallen into a state of delirium?
I’ve never. Though I don’t quite know what kind of state would be considered as delirium.

・Are you capable of throwing away your lover for the sake of your own desires?
I can’t. Because I can’t compare my desires with my lover.

 

Notes:

* Lyric translations come from This is NOT Greatest Site. This particular lyric comes from the song Tokyo.

** The original form of the question would literally translate into “Do you think your privacy is being protected?”. In present day context, this takes on a rather different meaning, thus my choice of wording.

*** “好き” was the word that was used in this question. It can be interpreted as a simple “like”, as in “I like cake”, or as “love”, as in “I love you”. The different members definitely took liberties with the possible interpretations of this word, so I went with “liked” instead of “loved”, since the “like” spectrum can also include “I like you and I want to date you” situations. [Yay for Japanese vagueness!]

^ The actual comment here was “鬼ですね”. While “鬼” is commonly used as a noun to refer to devils, ogres, and other not so nice (or nice, depending on your preferences) supernatural beings, in this case, it is being used as an adjective. To compare something to “鬼” would normally mean that you’re calling it evil, fiendish, demonic, and other words along those lines, but that doesn’t quite sound right in English, even if that’s the implied meaning that he wants to give. It turns out that “鬼” is also another form of intensifiers (like ‘very’, ‘really’, ‘super’, etc.). And for this reason, I decided to go with the term “too much”.

 

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_______________________

Yagami Toll

People dance, then they sleep.*

・What is the city of Tokyo to you?
It’s clearly a place of work. I want to eventually go back to Gunma. In the first place, I only came to Tokyo to play in a band. I don’t want to live here for the rest of my life. If I’m going to die, I’d definitely go back to Gunma.

・Is Tokyo a utopia to you?
Wrong. I don’t think that utopias exist in this world.

・What kind of people are your neighbours?
A regular husband and wife with two kids. We only see each other on occasion but when we do, we’ll just nod to each other in passing.

・What is privacy to you?
It’s definitely my rest time to me. When I’m with BUCK-TICK, there’s some kind of tension from somewhere so I’d be thinking that I definitely want to stay awake. So with that kind of a reaction, I have this strong thought of wanting to laze around and just space out when things aren’t like that.

・Do you think that you have privacy?**
When I go home, I have my privacy. And I have a reason for wanting to keep my privacy too, so that is why I’ve been using a stage name right from the start. When I am Yagami Toll, I’m not the same person as the one at home.

・Methods to work off frustrations?
If you do stupid things and kick up a fuss you’ll work off quite a bit (lol).

・Do you think that you’re a person with moral standards?
I don’t know about myself. It doesn’t matter what others think of me, but there isn’t a single good person who would proclaim that they’re a moral person (lol).

・Do you think that BUCK-TICK is being misunderstood?
I think that’s probably the case. People do say certain things to us, although politely.

・How can this misunderstanding be resolved?
By naturally continuing what we’re doing. That’s the only thing we can do.

・What are prejudices to you?
This is from the perspective of BUCK-TICK though. We’re not a band that has prejudices, right. I believe that this is the character of the band, so do hold more and more prejudices (lol).

・Are you someone with a big ego?
I wonder… I really don’t know if it’s big or not in my case though. My ego as an artist is probably big. Because I think that no matter how great a drummer someone may be, they won’t be able to exude the presence that I have, and only I can drum the way that I do.

・Do humans need an ego?
Whether it’s big or small, it depends on the person, but to me, those who have an ego have confidence. I think that applies to myself too. Since I’m a musician, if I don’t have that kind of precision for what I do, I can’t distinctly bring out my personality. I don’t think that I’m an egoist though.

・Do you think that cooperativeness and flexibility is needed in society?
Humans can’t live alone so it’s necessary after all, but I don’t think that there’s a need to force yourself to fit in.

・Do you think that war will disappear from this world?
As long as humans have a fighting instinct, it won’t go away.

・Have you ever lost yourself by drowning in ecstasy?
I wonder… I might’ve experienced it before.

・Have you ever hated someone so much that you wanted to kill them?
In the past, yes. Around three times (lol). When I was more hot blooded I’d get pissed quickly. But since I’m reasonable, it was alright (lol).

・Have you ever loved a woman to death?
Never.

・Have you ever liked someone of the same sex?***
In terms of friendship, I’ve often found myself liking them.

・Do you accept homosexual love?
Well, since such people exist, it’s alright, isn’t it? I don’t really know much about it though.

・Regarding incest?
Those kinds of people do exist, don’t they… Though it’s unbelievable.

・Can you love 2 women at the same time?
… … … I guess I don’t think I can after all…

・Have you ever loved 2 women at the same time?
Yes. If the capacity of my love is 100, it was nicely divided into 50 and 50.

・Have you ever thought of wanting to die?
No… I think. I’m very afraid of death, so I won’t think of wanting to die so easily.

・Regarding suicide?
Death is a very scary thing for me, so I don’t want to so readily choose death. Though I suppose that there are people who unexpectedly do it…

・Have you ever considered committing a lovers’ suicide? If the love between you and your partner cannot be fulfilled, will you choose death?
After all, I can’t choose death, so I’ve never thought of it.

・Have you ever had an abortion?
No. I’ve never.

・Do you agree with the idea of getting an abortion?
I don’t agree. I don’t want to agree.

・Have you ever experienced an ecstasy greater than sex?
Probably.

・Have you ever had sex without love?
Well, I wonder (lol). But when doing it, I do love. Can something like this be said?

・Can you live without love?
I don’t think that I can. Because I don’t think that humans can live in solitude.

・Are you presently in love?
I am.

・What do you think of Japan’s marriage system (one husband one wife, marriage registration, etc.)?
I think that you just can’t do anything about it. Because Japan is just that particular about formalities. I don’t think that I’m particular when it comes to formalities, but I’ve never done this before, so I don’t know.

・So, what about divorce?
I guess it can’t be helped… I think, but after all, I’ve never done it before, so I really don’t know.

・Do you have any interest in drugs?
I do. My interest is in finding out just what caused the change in the music scene, what caused a change in The Beatles, along those lines.

・Have you ever fallen into a state of delirium?
I have.

・When, and in what situation?
It was the time when I just came to Tokyo, but my stomach was so empty, I was so hungry but I had no choice and I was sucking on Halls (candy), drinking green tea, smoking cigarettes and I ended up like that. It’s a true story. Really. I couldn’t sleep and I started hearing voices. That was horrible.

・Are you capable of throwing away your lover for the sake of your own desires?
I might be able to.

・Can you concretely illustrate that object of desire?
Like if I ended up falling for another woman… (lol)

 

Notes:

* Lyric translations come from This is NOT Greatest Site. This particular lyric comes from Just One More Kiss.

** The original form of the question would literally translate into “Do you think your privacy is being protected?”. In present day context, this takes on a rather different meaning, thus my choice of wording.

*** “好き” was the word that was used in this question. It can be interpreted as a simple “like”, as in “I like cake”, or as “love”, as in “I love you”. The different members definitely took liberties with the possible interpretations of this word, so I went with “liked” instead of “loved”, since the “like” spectrum can also include “I like you and I want to date you” situations. [Yay for Japanese vagueness!]

 

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Group Interview

TABOO, which was recorded in London, was finally released on January 18. What kind of emotions did they put into this work that foretells a sensation!?

Contrary to the showy appearance of BUCK-TICK’s 5 members, their 3rd album, named TABOO, is relatively dark. What feels truly ephemeral might be the words that were put together or the spectacles that were imagined, bringing forth that desire for destruction, that distrust, and that insanity, which are hidden in the depths of human beings, more so than the mild, tender, warmth of God and love. Perhaps that is exactly what BUCK-TICK needs now. If a single human questions their own existence, life, and death…… That is something that is truly fleeting, yet terrifying after all.

―― First, please share the image that you had in mind for BUCK-TICK’s 3rd album before you went to London to record it.

U-ta (U): We listened to Imai-kun’s demo tape whenever we had time, and while we were on the move, we tend to have meetings among us members in the car, so it was early on when we managed to put the images of each song together into one. Of course, there were parts that were changed after we went to London, but it was made exactly the way they were in Imai-kun’s demo tape. How do I say this… I guess the composer’s ideas were easily conveyed to everyone.

Imai (I): It’s specifically because compared to before, the recording equipment like the rhythm box and whatnot have gotten better (smiles). Somehow, I think the nuances are now more easily understandable.

―― So, that is to say, that the arrangement has more or less already been decided upon in the composer’s mind.

I: Compared to before, quite so. Though in the sense that I can reproduce the sounds in my head.

Toll (T): Though in the demos, Imai-kun is the one singing so the image is a little different, isn’t it, like an indies impression (smiles). It’s just that I somehow had the thought that it would turn out to be even more maniacal, but I once again felt that, if the 5 of us were to do it, this is something that basically wouldn’t change, even if we went to London and added in a producer.

Hide (H): I guess, I, too, thought that it might possibly become more maniacal… I thought that it would be great if it did.

I: Dark. Hard. Thrilling. Melodic. Discordant. The imagery that those words created are what I first had in mind. Not only is it because this is our 3rd album, but we’ve also wanted to create something dark since some time ago.

―― Are such words always floating around in Imai-kun’s head?

I: Somehow, I’m always thinking about them.

―― When you mention ‘maniacal’, are you referring to the technical side of things?

Ani^ (T): That’s not all. Especially considering our super tight schedule for SEVENTH HEAVEN, we only had 5 hours of rehearsals!    Like, we decided that we’d take more time and do it carefully this time around.

―― What is Acchan’s image of the 3rd album?

Atsushi (A): Definitely dark. Actually, I’ve already had that image even before we made SEVENTH HEAVEN, but when we tried putting it together, it’s pop, isn’t it?    So I guess that kind of recoil does happen too. I wanted to bring out the heavy things that come from inside.

U: Like my elder brother said earlier, this was the first time that we had a producer on board with us, in addition to it being our first time recording overseas. It’s not like we didn’t have our insecurities, all of us. But I believe that the image that each of us had for each of the songs were solidified into one through our meetings. Furthermore, what we were anxious about was that we did not want it to be completely imbued in the producer’s colours, so I think that a concrete image and a certain extent of the arrangement was already firmly understood by the 5 of us before we even started recording.

T: However, it was quite tough that we did not have much time for rehearsals at all, but I guess it’s because we did things the way we wanted to. So the producer took on an advisory role instead.

A: The way we think with “Let’s do this song like this!”, it didn’t really change much even when we were in London. The tension was exceedingly high.

U: Because even if we can’t communicate in words, we’re able to make the sounds with our mouths (smiles).

―― A human sampling machine (smiles).

U: Yes, yes.

―― But if you can’t communicate with words, doesn’t that mean that it’s rather vexing that you can’t convey the minute nuances with your own words?

I: When I try to pass the image of the sound in my head through an interpretation, the nuance changes subtly. And being unable to put that in words even though I understand that, it’s quite…… Maddening.

H: It takes time. Like I wish this was in Japanese, or I wish I could speak English.

A: We didn’t have time to rehearse, and the lyrics weren’t done yet too. When it comes to time-sensitive things, I get irritable though. And I’m always irritated and annoyed so…

―― Within all of that, what were the things that you did not want to lose sight of, or did not lose sight of?

A: That feeling of “Let’s do this!”. We’re not being instructed by someone over this and that, so I think that each one of us firmly held on to what we imagined to make sure that we ended up completely satisfied.

―― Was that something that you kept in mind until the very end?

A: Yeah. Because the only thing that we really hated was being swept along by the schedule.

―― This dark image was something that both Imai-kun and Acchan brought up, but could it be that the 2 of you have discussed about the image before?

I: We didn’t especially talk about it just between the two of us, right? Like SEVENTH HEAVEN’s “heaven” and “angel(s)” and so on. Back then, the both of us were surprised that we were both thinking of the same things too though. This time too, there wasn’t really anything spoken of beforehand.

―― Even so, this 3rd album of yours is dark, isn’t it? Furthermore, it’s ephemeral and sorrowful, and so on. Or is it the darkness that seems to come from cutting your chest open with a knife. In particular, the content of the lyrics really comes at you. Right from the very first song, ICONOCLASM. Running away from reality, or questioning the existence of humans, and so on. EMBRYO isn’t abstract, but instead, it quite directly sings about abortion. Even that alone is heavy, isn’t it. If I were to put it in extreme terms, I’d say that even the madness that is hidden in the depths of humans is felt though.

I: Within me is this word, “TABOO”. I guess, somehow, this word, it isn’t any one specific thing, but it is something that is born from the words “hard” and “dark”. And I did ask the members whether it would be good to make “TABOO” the title of the album though. So I think that common point that I have with Acchan is just that word, “TABOO”.

―― Even if that’s all there is, couldn’t it become an album concept?

I: I’ve never thought of making an album with a concept in the first place. If you asked me which one had more of a concept, I’d say that it’s SEVENTH HEAVEN, and that, you can see from those keywords alone that “HEAVEN” was the concept.

A: Be it the content of SEX FOR YOU, or EMBRYO, those vaguely came to me while we were in Tokyo, but at that time, the word “TABOO” came from Imai. SEX does become “TABOO” in certain cases, and EMBRYO does become “TABOO” in certain situations as well after all. “TABOO” is a word that captures everything. If you gave TOKYO an image of destruction, it applies too. I think that “TABOO” can include anything and everything.

―― Could it be that you were inspired by this “TABOO” that Imai-kun brought up?

A: Hm… I wonder. Though on my own, I did wonder about what situations are considered as “TABOO”.

―― Did Imai-kun come up with lyrics from the word “TABOO” as a basis as well?

I: I’m thinking that I want to change how I’ve been thus far. That’s always been the case, but I don’t want to write about the continuation of what we’ve had so far. I do want to make different kinds of music too, and I write by starting with the melody. I personally think that I’d want it to be something that comes of a natural change.

―― What about Ani?    Though you’ve said that you’ve written it in Acchan’s image.

T: There was that, and the image of London too. But I didn’t really keep the word “TABOO” in mind. Just naturally, with all I had (smiles).

―― In this dark album, the very last track, Just One More Kiss, was pretty much the only source light, the one that lets us breathe a sigh of relief with a sense of “ah, I’m saved”. It was recorded in Tokyo and was released as a single hit song too, so how did you add that song in?    Without that song, the album would’ve ended in empty thoughts. In distress.

I: We thought of having TABOO as the last song, but Acchan said that if that was the last song, “I’ll die, y’know” and “That’s painful, y’know”. I guess we have to save the listeners’ emotions or it would be bad. So the last song became Just One More Kiss.

T: It’s like a founding song (smiles). Even though we didn’t compose it with that in mind.

A: But when you look at that song from the perspective of sound quality, that’s the only place where you can put it in. Not to mention, if it was placed as the first song, it would’ve ended up concluding the album. For me, I wanted to put Just One More Kiss into the album as an extra or a bonus. Like, I don’t think that this song will make a turn the end. Since it’s a good song, the thought of wanting the song to end as it is was strong. And that’s why, I thought that the number one, best way was to have the album TABOO end once with the song TABOO, and then have Just One More Kiss come alive after it in that order.

―― So you didn’t consider the possibility of not including Just One More Kiss in the album.

A: With or without it, TABOO is TABOO. I don’t think that this dark and heavy tone will change.

―― I believe that what mostly gets captured is BUCK-TICK’s flashy and colourful side. With your songs being poppy and melodious, and such. However, your 3rd album is hard and dark. Releasing such an album at this point in time makes me read deeply into it, and I wonder if perhaps you made this move on the volition that you want to completely override the image that you’ve built up thus far and change things. This isn’t a strategic part but a mental and emotional area, isn’t it?

H: We’ve released something new, something that we’ve never done before, but our intention isn’t to reject or throw away whatever we’ve done thus far. I think that what is left behind is what will persist, and what is uniquely BUCK-TICK. It’s just that the only things that are different are the parts that are hard and dark.

I: I guess you could say that those are simply the parts that couldn’t be seen before, or that we’ve never shown before.

A: I wanted to change, but it was neither a duty nor a strategy, it was just my own wilfulness. Ever since the period of time when we were recording SEVENTH HEAVEN, what I wanted to do became clear to me, and this vague sense came into realisation in the form of TABOO. I wanted to do something dark and hard, and that, I was able to do. It’s not about changing because I wanted to change, or override, or change the circumstances around me. It was simply me wanting to change myself for the sake of doing what I want to do.

I: Though, rather than changing, it’s more like different parts, the parts that we’ve never shown before but are showing now.

―― But I believe that with this album, there are many who are saying that BUCK-TICK has changed, aren’t there?

I: It’ll definitely be so.

U: I think that there are pros and cons to that…

A: We wanted to do what we wanted to do.

I: Just like our previous work, you can’t predict what’s coming next. BUCK-TICK will continue to change. Even in this album, we haven’t shown everything that we’ve got, so naturally, there are pros and cons, I believe.

 

Notes:

^ I think there might’ve been an error here since they referred to Toll as トール (Tōru) instead of アニイ (Anī) in the earlier part of the article and after this part as well.

^^ U-ta refers to Toll as アニキ (Aniki) here instead of アニイ (Anī), thus the decision to use ‘elder brother’ instead of Ani.

 

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Album Interview

 

“We wanted to produce an album that you won’t be able to understand no matter how much you listen to it.”

This was what Sakurai Atsushi said of the album TABOO. Listening to it, the words and the melody grow familiar to the body and the heart, but perhaps, the part that we’ll never understand no matter how much we listen to it is the elusive unconscious mind that is hidden in this album. Before the release date (January 18), in a state without music nor words, that was all that I had in mind as I conducted the interview.

The theme behind this album, entitled TABOO, may just be the imagination that even the band members themselves are unaware of. The personal interviews, which grew from those thoughts, first started with me asking the band questions that came to mind based on the word “TABOO”, and the lyrics and melodies that I heard. Because my impression of “TABOO” is rather impulsive, the questions turned out to be quite extreme, but the result is as you’ve seen.

Since the members will be talking about the themes and explanations behind each song in the next issue, we’ll unveil a little of the ambiguous existence of TABOO through their inner thoughts.

Firstly, the “lyrics”. These are not just the use of extreme words or the telling of a superficial story. Deep in them hides a human’s insanity, desire for destruction, and distrust. The ego and desire that a person does not want to show to others. The contrasting purity and beauty. The honest feelings that one has for love. All of these “coexist” in this album, but it does not lean heavily into one side or the other. In an instant, they come together while separating, and separate while coming together.

For example, in SILENT NIGHT, there is a line that says “I want to kill it all with my own hand [kono te de koroshite shimaitai]”.

Because he wishes to remain as they are, just the two of them, because he loves, he stops time, life, and existence to trap this love in eternity. Such ferocity and violence and pureness is insanity turning into beauty in that instant.

“Just like that    Closing off the world”

How romantic, how terrifying. Even though death is definitely not the equivalent of eternity.

Confused, losing his mind, running away from reality. Sakurai Atsushi writes about these things in plain simple words.

Contrasting him is Imai Hisashi who writes fanciful lyrics with his imagination. (This time, Yagami Toll has also provided the lyrics for one of the songs and he said that they were written in the image of “Sakurai Atsushi”.)

In the balance of these two, vocalist Sakurai Atsushi changes his voice and singing technique (method of expression), enhances the image of the songs, and changes his countenance. Even using both sighs and screams.

In a previous interview, Sakurai said, “Frustration has become the theme of the lyrics, but I want to write about what’s behind that hunger and desire. But I’m still unable to express them well enough for my words to be considered as rock lyrics”, but on the contrary, it feels as if the straighter and more direct and frank he gets, the closer we get to the hidden, unseen theme of TABOO.

SEX FOR YOU relates to the production of life and human potential.

With EMBRYO, it’s abortion.

J is about madness. While for TABOO, a lovers’ suicide.

No matter how many times you listen to this album, each of the songs is enclosed in the wide frame of TABOO in my arbitrary interpretation. Perhaps, it could be said that these cast doubt over human nature and our existence. With that backlash, they may be escaping into love and death…… and so on. As we move from one to the next, to what they call “the dark side of wishes and desires”, thoughts run around and around. “An album that you won’t be able to understand no matter how much you listen to it”. Perhaps the meaning behind these words is the descent into such a state of confusion……

“BUCK-TICK is a band that will continue to change.”

“This is an album that shows what we’ve never shown before.”

“You can’t predict what’s coming next.”

And so on.

From their words, it sounds like BUCK-TICK is a band that cannot be captured in one single portrayal, but as expected, these 5 who reject being represented by one image have once again impressed themselves with an ever-changing image that only BUCK-TICK is capable of with this album, TABOO.

“Uniquely BUCK-TICK”. This is what they always say, and as they shine with a new light, they change.

Their showy, flashy roots. Their poppy, melodious songs. These are the different words that they have been described with thus far.

They are not tied down by these words, neither are they fixated on them.

Depending on how light hits a prism in which new cuts are engraved, the way the light gets reflected and the colours that are produced changes too. It seems like BUCK-TICK is much like this, continuing to shine a new light from one work to the next.

Right after they were done with producing this album last September, they switched their minds back to their previous work and leapt into their SEVENTH HEAVEN tour. They did say that “As players, we want to play new songs as soon as possible”, and they would soon have the chance to. The ones who have been waiting most impatiently for it are without a doubt, the members themselves (after all, they have been waiting for 4 months).

On the 19th and 20th of January next year, they will, for the first time, perform the songs from TABOO at Nippon Budokan. It would seem that they will build the stage with an image that completely differs from the flashy, visual, and highly effective SEVENTH HEAVEN TOUR.

A dark, hard, beautiful, yet ephemeral world is where BUCK-TICK’s new potential is headed towards.

I can’t help but feel that by giving this album a name like TABOO, they are saying that there really is no such thing as a “taboo” in this world.

Right after the interview ended, I stopped the tape recorder, and as I said, “This album is so fleeting, so painful, so very heartrending after all”, Sakurai Atsushi, with that piercing gaze of his, said this in a languid tone.

“It’s alright. Because we’re deeper than that.”

 

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Live Report

Act 2 | Secret Gigs 4 Nights Report
BUCK-TICK NIGHT 1988 Nov. 20th

BUCK-TICK has made an appearance, taking time out of their busy schedule while in the middle of their SEVENTH HEAVEN tour to do so. The excitement of the 500 lucky people was at its climax even before the performance started.

There were many girls standing outside the stage door at Power Station with their umbrellas open, all eagerly waiting for the venue to open at 5:30 P.M.. And at 3:30pm, the members of BUCK-TICK arrived at 3:30 P.M. in all of this.

November 20th is right smack in the middle of their SEVENTH HEAVEN tour, which began soon after their return from London. The band’s fatigue was probably at its peak, but the moment they entered, they immediately started rehearsing. Backstage, I said, “I’ve listened to it, TABOO. Acchan’s passionate voice is great”, and to that, I was told with a grin, “It’s also been said to sound begrudging”.

After getting their makeup done, they started the show 10 minutes behind schedule. Before they went through the door on the side of the stage, Yuta shouted, “Alright*!!”. From that moment, all 5 of their faces tightened in concentration. I can’t help but be impressed by their focus and how quickly the band’s mood switches over. It was if their noisy, laidback selves from just a moment ago were never there.

They were welcomed with loud cheers, and their first song was VICTIMS OF LOVE. After a longer than usual guitar solo by Imai, the song began with moans of Atsushi’s voice. It was a hard opening that slathered the entire hall in B-T’s world in an instant. HYPER LOVE and SEXUAL XXXXX! attacked suddenly in waves. The floor was an onbeat dance paradise from the get-go.

For the first time in a long while, they played PLASTIC SYNDROME II, and after it ended, Atsushi spoke. “Today is a day of celebration for B-PASS, so we were wondering about what we should do, but we were in the middle of a tour and we couldn’t come up with anything. So we’ll do what we normally do.”   “Cheers to B-PASS and everyone (here)!” As he said that, he showered the floor with water from his cup, and then, they started the second half of their show. In the heat, the temperature in the hall rose, and Atsushi shook his mic multiple times, draining moisture from it and left the buttons on his shirt open. He looked like he was feeling very warm. During the bridge of IN HEAVEN, the interaction between Atsushi and Imai as they sat down got the audience excited. In his MC, Atsushi sounded worried as he said, “Even if you tell me that it’s tough and so on, it’s worrying, so please control yourselves”. But by this time, there were already 2 or 3 people who had to be carried out.

During the 2nd song of their encore, FLY HIGH, the audience sang the chorus together with the band. As the audiences’ voices were not growing loud enough, Ani endlessly played his snare drum. Atsushi even laughed as he said, “You’re not listening to what Ani is saying!”.

The second encore had TO SEARCH, followed by JUST ONE MORE KISS. After that, the final encore song was an indies track, MOON LIGHT. They performed a total of 15 songs. After it ended, almost all of the 500 people on the floor were drenched in sweat as they stood still for a while, as if in a daze. One warning. Don’t throw things onto the stage!    A ring or something hard hit Atsushi under his eye and that’s really dangerous.

 

* Actual text is ヨーシ (yoーshi).

 

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Translation: Yoshiyuki
Scans: morgianasama on LiveJournal

 

 

BUCK-TICK | [1995] BUCK-TICK Club #29 – ISSAY Personal Interview

Posted on by Yoshiyuki

ISSAY Personal Interview

BUCK-TICK Club #29
1995

In Russian

 

 

ISSAY has taken part in the song, “Itoshi no Rock Star (愛しのロック・スター / My Favorite Rock Star)” from BUCK-TICK’s new album Six/Nine. His sudden guest appearance at Liquid Room on 14 May roused the audience and their eyes were glued to the bewitching performance on stage.

This particular interview was recorded before his performance at Nippon Budokan on 17 May and we were once again spellbound by their perfectly synchronised staging later on.

 

 

 

ーー What led to your participation as guest vocals this album of BUCK-TICK’s?

I got a call from Atsushi-kun (smiles).

ーー (Smiles). He personally… said he wanted you to do it?

Mmhm. There was a call which went something like, ‘I wonder if you’ll do it~”.

ーー Wasn’t that a time when you still didn’t know anything about the lyrics and all that!?

Before I knew anything about it… I said I’d do it, but since I haven’t heard what kind of song it is, I did say that I’d like to hear it once though.

ーー Have there been incidents when you decided “I apologise but I can’t do this after all” because of the lyrics?

If the lyrics are by Atsushi-kun that’s impossible though. … But Atsushi-kun was particularly concerned about that. Like I got a call where he said, “Maybe you might find the lyrics disagreeable”, and I said, “Anyway, if you show me the lyrics I’d be able to answer that for you, so”. Then, when he showed it to me, they were really great lyrics, aren’t they? Whatever Atsushi-kun wants to sing about now is being directly expressed and I thought that they were good lyrics. I was glad that he’d let me sing such wonderful lyrics too, you know. I immediately called him and told him that I’d be more than pleased to do it.

ーー During recording, did you think about how you wanted to sing it and things like that?

We didn’t think about anything at all in the beginning. Anyway, I was also really troubled over how we should sing it but… Atsushi-kun was also being thoughtful for me and he said “Please take it easy”, so… I thought, well, I’d take it easy too then. We did it a number of times, trying different singing styles, but… We thought of doing it in a very straightforward manner, and we recorded 2, 3 takes of singing in that straight manner… And then we gave that an OK. After that, they were combining those 2, 3 takes together, so I went to the bar room with Atsushi-kun and chatted with him while drinking, but just then, he said to me that he really liked the song “Itoshi no MAX” which I released as a single. He didn’t say much about that, so I asked, “Could it be that Atsushi-kun wanted to sing like I did in ‘Itoshi no MAX’?”, and he said, “It’s nice, isn’t it, that song” (smiles). So I said, “Well, let’s try doing that once then”. I told him, “We have the edited version anyway, so we can just give it a try and if it doesn’t work, just toss it out”. So we went back into the studio once more and I said, “Well, let’s sing now”. … The singing style for “Itoshi no MAX” is quite a playful one, so when we sang like that, it went well, we liked it, and we got an OK in one take. So those that we did before this one got rejected. Like, what? If he said so right from the start it would’ve been good (smiles).

ーー (Smiles). So I see. You appeared for a guest performance on 14 May at Liquid Room, but how did you feel looking at the B-T fans’ reactions from the moment ISSAY-san came on stage until you left? Did you feel discomfort or anything like that?

Nope, they were very friendly people, so I felt like I was welcomed there. The atmosphere just flowed along like that from the moment when Atsushi-kun introduced me, so it was really easy for me to step out… It was really fun. I thought that they were an audience who possessed a nice power.

ーー I see. Well then, a word or a message to Sakurai-san…

I’m very honoured and happy that you’d have me participate in this manner this time around and… I think that it’d be nice if we could have these kinds of back-and-forths with each other with more ease. Appearing on BUCK-TICK’s lives have been exceptionally stimulating too, and since we came to stand together on stage without any prior arrangements, we sang while looking into each other’s eyes, while watching to see what each other’s next move would be… We both performed with an extraordinary amount of emotional strength. I think that there are only a scarce few vocalists who possess a tension like that… I was really happy, and I’d like to perform such an enjoyable live again, so let us continue our relations.

ーー A word or a message to the members of BUCK-TICK’s fan club…

I’ve said this earlier as well, but I do think that the power of the audience when I performed at Liquid Room was wonderful. … Which is why I think that it’d be great if the audience took pride in that as an audience. And I think that BUCK-TICK, which has brought together such an audience, is a wonderful band. If there are any other opportunities [for us to meet] in future, please treat me well (smiles). And please listen to DER ZIBET too (smiles).

ーー (Smiles). And your thoughts on BUCK-TICK’s current album…

I think that this time’s album is one where a nice madness coexists with the spirit of rock. For them to do this with surging power and for the album to have something like that as a major release in this point of time, I think that it’s amazing and… I really like it.

ーー What about ISSAY-san’s activities going forward?

Our 11th album was released and the tour which followed has just concluded so… If there’s anything coming up… I hope you’d listen to it. … I think it’s a great album. After this, DER ZIBET will probably start recording for our next album, so I think that our next album will be released early next year. When that happens, again, please do listen to it.

ーー Will do. Thank you very much for today.

 

 

 

 

 

Translation: Yoshiyuki
Scans: kamen of the BUCK-TICK Discord

 

 

MORRIE x Sakurai Atsushi | [Sep 2006] Decadence and Its Immortality

Posted on by Yoshiyuki

Decadence and Its Immortality

Morrie (Creature Creature) X Sakurai Atsushi (BUCK-TICK)

 

Ongaku to Hito
September 2006

Text by Ishii Eriko
Photographs by Kasai Chikashi
Hair & Make-up by Araki Hisako (Octbre), Okazai Kaori (Fat’s Berry)
Styling by Kobayashi Junko

 

 

I think my desire to immortalise myself is very strong（Morrie）
My fascination for it gets turned into song. I can sing about it numerous times, over and over（Sakurai）

Well, I don’t suppose you need any explanation. I hope you’d read each and every word of this interview carefully and thoroughly. Transitioning from DEAD END to a solo artist, the claws of solitude have left scars on Morrie and after 11 years, he has returned to the scene with Creature Creature. Today, it’s him and Sakurai Atsushi of BUCK-TICK; a band who has just embarked on its 21st year of activity. The God of Gothic and the Demon King of Decadence. This is where they meet.

 

 

 

 

―― What was it like when the both of you first met?

Morrie (M): Well, we debuted in the same period, and we were signed with the same record company, weren’t we? But if we’re talking about when we properly met, [it was that] one time when he asked us onto a radio show. That was the very first time, wasn’t it?

Sakurai Atsushi (S): You’re right. Because early on, we 5 in BUCK-TICK hosted a radio show and we were told that we could ask anyone we liked to be our guest on the show. But in fact, when Morrie-san and JOE-san came I got soooo excited that I ended up saying something rude.

M: Really?   What did you say?

S: Oh, no, no, if you’ve forgotten then it’s perfectly fine (smiles). It didn’t [come out] right. On the inside, I was thinking, “That wasn’t what I meant at all, but for some reason, what I said came out different.”

M: Hahaha. But I don’t have any bad memories [of that occasion] at all. I remember that scenario well. Sakurai-kun, and also Yuta was speaking too, right? The other three didn’t say a word.

S: Because we were about to end it, that program (smiles).

M: And when I went solo and released my second album, I was once again asked to appear on a radio show as a guest.

S: Yes, yes, I remember that. We were asked to be guests on NACK-5’s radio show and spoke about it together.

M: And we started meeting after that?   I think.

S: After that…… No, we once bumped into each other at a bar¹ somewhere. But whatever it is, that was already ten plus years ago.

M: Yeah. Anyway, firstly, I actually didn’t say thank you to Sakurai-kun, did I? When I released my solo best of album² last year, Sakurai-kun sent me a piece of writing².

S: No, no, no, it’s ridiculous (smiles).

M: I was simply amazed by that. He wrote something along the lines of “Even now, I want you to sing” and that made me so happy. Hearing that Sakurai-kun listened to DEAD END and my solo work, it’s surprising, isn’t it?

S: Ah, really?   No, but I quite………… Well, I like [it] (smiles). I like [it] a lot!

M: Hahaha!   But speaking of BUCK-TICK, Sakurai-kun has Sakurai-kun’s own world, doesn’t he? There’s an unshakeable Sakurai World.

―― That’s just like Morrie-san too. I think that both of your lyrics are pioneers in Japan’s gothic rock music, which leads me to wonder how you established such a worldview around 20 years ago when there was no one who came before you.

M: Hmm…… What was it like back then? I read a lot of horror and sci-fi, and the images I got from those came out vividly, I think. Also, when I was young, how do I put this…… There are also times when my impulsiveness comes out in full force, like the desire to destroy everything. So, it’s an impulse, and it’s also all intuition, isn’t it?

S: It’s the same for me. It’s not as if I was influenced by someone with my lyrics. In the beginning, I had a look at all sorts of lyrics from different people, but in the end, it’s not something that is mine. So, I’m with Morrie-san; it’s intuition. Just, intuition.

―― Both of your lyrics have an especially significant “what happened” kind of unexplainable and fantastical aspect in them too.

M: In my case, at least, well, they’re abstract so it can’t be helped that people think like this, but my lyrics are all material.

―― Ah, really?

M: Yeah. Like having had a hell of an argument with my wife (all laughing). That’s what they start from. When I listen to the music over and over, keywords or words that will turn into lyrics will pop up in my head. During those moments, if I’m right in the middle of, say, a very heated argument with my wife, these [life] events would naturally come out through my own filter. That’s why, no matter how fantastical it may appear, the process of writing it is pretty close to everyday life. That’s the norm, isn’t it?   Then again…… I’ve never had such a conversation with other vocalists before, to begin with (smiles).

S: That’s true (smiles). But I’m like that too.

―― Do you consciously work on eliminating as many realistic³ words as possible during the songwriting process?

S: No, there’s none of that, is there? Besides, working in realistic³ words can make things interesting too. It’s not as if I’m looking to use words that no one knows.

M: For me, the ideal is have the song end in what sounds like meaningless chanting. Because even if lyrics do not exist, it’ll make the music sound good. But when it comes to Japanese music, I often get let down by the lyrics even though the melody is pretty good. That’s, well, probably because of preferences, though. But on the other hand, I do want to hear about the current trends in Japan.

―― Hmm, I guess these days, most of them are the types who vent about their worries and distress.

M: Vent their worries?   Huuh. And what do these people do after venting?

―― They vent, and then move forward; something like that, I suppose.

M: Aren’t they rather positive, then?

S: Nfufufufu. Yes.

M: Well, I guess I get it but…… I don’t know, isn’t that a happy ending after all (lol).

S: It seems that this is preferred, isn’t it? I suppose if [the message of] “but let’s do our best anyway” isn’t in there, no one will listen [to the songs] (smiles).

M: It’s always been that way, right? That’s how we all pandered [to people]. But personally, I prefer unhappy endings. Always have.

S: Ah, I’m with you on that. That’s true. 

M: Be it movies or novels, I love unhappy endings where there’s absolutely no way to turn things around in the end. That’s perfectly my type of thing. Because when things conclude with a happy ending, it’s so blindingly white that it feels like I’m being told a lie. This [perception] is like an instinct which has been cultivated in me ever since I was a child. A sensitivity. This is just how it is. And yet the world seeks happiness and salvation⁶ from someplace else, doesn’t it? Of course, I, too, have my own forms of relief⁶, but to close things off with a “let’s do our best”――

S: Makes you say, “I want a refund!,” doesn’t it?

M: Sure does. Sakurai-kun’s lyrics, too, can be said to be of both Eros and Thanatos⁴, but the Thanatos side is most certainly stronger. Because the deathwish⁵ dominates. I believe that it’s definitely right that these grotesque parts, and this cardinal lust for aggression comes out when you compose. Because it is Thanatos that is the root of humanity. But while it’s fine to turn your aggression towards the outside world, if you over do it and reach your limits, that energy will flip around and turn on you. And it’s rough when that desire for aggression comes back to you, isn’t it? You’ll become self-destructive and start attacking yourself. You’d lose the ability to say that the world is bad and start to believe that you’re the one to blame. When you wind up in that position, death is definitely the only thing that lies ahead of you, so there’s no other choice except to die. At such a moment, how do you survive without resorting to suicide―― Using this as an extreme case, that’s the problem here.

―― The word “死 (death)” often appears in both of your lyrics, but I don’t see it as a  simply affirmation of death. I get the feeling that that’s not all there is. That there’s something else.

M: …… That there’s something else behind death?

S: …… I think there’s nothing else (soft smile). But I think it’s still good to play with that as a word. It may be inappropriate to say we’re playing with it, but there’s a sweetness to it, isn’t there? A sweetness that the word itself possesses, or something.

M: Because words are just words, aren’t they? It’s not as if you’d die just by saying “death”.

S: But if you were to take it seriously, I guess it would be excessively dark and lurid. That’s why I sometimes want to give it a more romantic expression.

M: Sakurai-kun, you sometimes get your own form of relief⁶ too, don’t you? Especially in your solo work. Like Ai no Wakusei⁷ where the songs can come across as very positive depending on how you look at it.

S: That’s true. There’s a part of the salvation⁶ that I dare say was left behind. It got me thinking that you’d have to do something like this once to find your balance.

M: That’s what happens eventually, right? Like I’ve said earlier, if you keep going in the cycle of destroying those around you or yourself, all that awaits you is death. It’s easy to say, “I don’t care if I die,” but that’s too simplistic a thought. In the end, the things that will save you in each phase of your life are out there somewhere, aren’t they?

―― Even so, why is that salvation⁶ tied to the word “death”?

M: Probably, well, this goes back to what I’ve said about deathwish earlier, but I suppose there’s a part of me that wants to immortalise it after all. Even though [the base idea is] an everyday event, I make it more abstract, and try to immortalise myself by making it generic. I believe Sakurai-kun’s tendencies are of this type too.

S: Yeah (nods).

M: I definitely turn things abstract because I want to eliminate the stench of normalcy. Wanting to immortalise myself like this is a desire that I think is very strong in me.

―― Immortalise…… That’s a very fitting word. 

M: And that’s what deathwish is. This is what Thanatos is all about. The indifference towards ephemeral things and the desire to immortalise oneself as one is.

S: Ahh. I can’t say it as well as Morrie-san can, though. But I believe…… My fascination for it does get turned into song after all. I can sing about it numerous times, over and over. I suppose that’s what immortality is. It’s either wanting to die continuously, or just once is too good to be true (smiles).

M: It can be interpreted in a few different ways, right? I love Souseki’s Kokoro⁸ myself and I often read it, but everytime I read the line, “Why did Sensei kill himself?”, I’d find myself pondering it over. Then, I’d read it a few years later and again wonder, “Why did Sensei kill himself?” It’s as if I’ve made it my life’s work to figure it out each time I read it.

S: Ahahahaha!

M: Everyone is free to interpret it for themselves too. It’s not like I know what Souseki was thinking anyway. But I suppose it’s a compelling novel that makes the reader want to look deeper into it, isn’t it? That’s why I think it’s up to each person to interpret our expressions their own way as long as they enjoy it and feel that it makes their lives feel a little more meaningful.

―― Since you’ve mentioned the words life and lifework, I’ve got a mundane question, but what is Morrie-san’s daily routine living in New York?

M: My daily routine? It depends on the time of the year but…… Well, in these recent few months I’ve been busy recording. But if we’re excluding that and talking about my normal routine, then, well, I’d have breakfast with my wife. Together. I’d be the one preparing it, though.

S: Oh, wow. In a pretty methodical way?

M: Mm… Well, there are things that are done methodically and those that aren’t, though. But Japanese are more particular, after all. Compared to them; they’re more crude (smiles). For example, we’d prepare tea for breakfast and I’m the sort of person who would do it properly, like measuring how long the tea should be steeped and so on. Adjust the time depending on the tea leaves. But Americans don’t do such things. They don’t even time it.

S: Your precious tea leaves! (Smiles)

M: Exactly (smiles). Wouldn’t you want to enjoy it at its best flavour? So that’s why I have to do it.

―― May I just ask, well, earlier, you said that you can’t bring yourself to like happy endings, right? While I do understand that, personally, I want to think of marriage itself as something that is happy in the end.

M: Mm, that’s true.

S: Yeah. I understand.

―― So, at that, it gets me wondering, how do you manage those sensibilities of yours while actually living married lives in real life?

M: Balance, I guess?…… Hmm, well, simply put, I guess it’s something like staying together even while [we’re] going back and forth through unhappy warzones⁹.

S: I believe it’s expected that anyone would hope for their family’s happiness, right? But my personal sensibilities, whether we’re talking about movies or novels or even music, they’re basically dark and revolve around sadness and pain, so even if I leave it alone, I’d end up going in that direction anyway. I think it’s alright for your personal life to be completely separate from the things you like, like, I’ve always liked DEAD END and liked Morrie-san, that has never changed and has nothing at all to do with being married or not.

M: In the end, every person definitely has something that is irreplaceable to them, right? As you gain [life] experience, you’d come to know what suits you and they will naturally become a part of you too. I suppose that’s why our expression styles turned out like this. The world of BUCK-TICK has grown richer and richer because they have consistently been putting out new works, and while that is only of course, I think it’s something that deserves a lot of admiration too.

S: …… Thank you (soft smile).

 

 

 

 

Notes:

¹ The word used here was 飲み屋 (nomiya) instead of バー (baa) which is the standard word used to specifically indicate a bar. On the other hand, 飲み屋 is used to refer to an establishment which mainly serves alcoholic beverages. In other words, they may not have necessarily met in a bar but I translated it as “bar” for flow and easy understanding.

² Morrie released his solo best of album, Ectoplasm in 2005 which contained a comment from Sakurai Atsushi in the album’s booklet. A translation of the comment can be read here.

³ Note that realistic words refer to vocabulary that reminds one of reality.

⁴ I believe the reference here is in relation to Sigmund Freud’s psychological theory that a person’s instincts fall into one of two categories: the Eros category or the Thanatos category. In Greek mythology, Eros is the god of love, and Thanatos is the god of death, making them opposite of one another which thus, according to Freud, represent the polar opposite instincts that lie within each of us. In his theory, people will instinctively choose life or death when making decisions.
Decisions based on life instincts represent Eros. These are decisions driven by pleasure, sexuality, love, procreation, and the need to get along with others. People with life instincts emit positive energy into the world and often display emotions of love, happiness, and affection.
On the other hand, the death instinct is represented by Thanatos, the god of death. Death instincts include aggression, anger, and violence. Death instincts can be related to both homicide and suicide. Someone driven by death instincts may cause self-harm, engage in risky behavior, or become violent with someone.

⁵ Also part of Freudian psychoanalytic theory, the deathwish is the drive towards death and destruction, often expressed through behaviors such as aggression, repetition compulsion, and self-destructiveness.

⁶ Here, relief or salvation both refer to the same word “救い (sukui)”, which, as a noun, refers to things that give people a sense of relief or reassurance.

⁷ The only solo album released by Sakurai Atsushi on 23 June 2004. 

⁸ Kokoro (こゝろ) is a novel by the Japanese author Natsume Sōseki. It was first published in 1914 in serial form in the Japanese newspaper Asahi Shimbun. While the title literally means “heart”, the word contains shades of meaning, and can be translated as “the heart of things” or “feeling”.

⁹ 修羅場 (shuraba) has a variety of meanings depending on the context. The word originates from Hindu mythology as the place where two Gods – Asura and Indra – fought, and hence caused carnage and bloodshed. The word has since been used to describe battlefields and other dreadful scenes of the like. Possible translations of the word can go from “bloodbath” to “battlefield”, from “scene of carnage” to “shambles” to “sheer hell”, or even simply “drama”.

 

 

 

Translation: Yoshiyuki

 

 

Schwein | [Jun 2001] Schwein Dissection – An interview with Imai Hisashi

Posted on by Yoshiyuki

Schwein Dissection

Ongaku to Hito
June 2001

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

 

 

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

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

 

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ーー …… Hmm.

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

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

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

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

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

 

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

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

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

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

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

ーー Huh.

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

ーー Hahahahaha.

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

ーー BUCK-TICK’s Atsushi Sakurai frowns?

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

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

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

ーー Parts that tire you out?    In Schwein?

I: Yeah. Evenly spread on the whole.

ーー (Smiles) Evenly spread?

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

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

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

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

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

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

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

ーー …… Meddles from the side?

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

ーー Elec…tronics? (smiles)

I: Because he loves machinery (smiles).

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

I: Yeah, yes.

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

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

ーー Yes.

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

ーー What’s the reason for that?

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

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

I: Yeah.

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

I: Yeah.

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

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

ーー Wahahahahahaha.

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

 

 

 

Notes:

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

 

 

 

Translation: Yoshiyuki
Scans: spanielonthemoon on Tumblr

 

 

ISSAY x LOVIN | [Jun 1993] Explosive Conversations Paradise

Posted on by Yoshiyuki

Explosive Conversations Paradise

Newsmaker #56
June 1993

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

 

 

Monthly Explosion Dialogue Paradise Under the Rock’n Roll Sky. Artist lively Talks go on “Like it” or “Not,” Let’s start up with extra-super line-ups for this month! ⁰

 

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

 

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

 

 

 

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

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

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

I: That’s right.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I: You don’t say (lol).

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

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

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

＊

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

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

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

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

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

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

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

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

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

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

L: Yeah, yeah, exactly.

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

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

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

L: That’s true.

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

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

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

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

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

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

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

L: What about JR?

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

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

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

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

I: Gyahahahaha. Yes, yes (lol).

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

I: I’m also a mama’s boy.

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

I: I suppose so.

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

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

L: You can say that again (lol).

＊

I: …… Do you go out a lot?

L: Nu-uh, not really.

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

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

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

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

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

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

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

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

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

L: …………

I: …………

L: …… Hey. Were you good at sports?

I: Nope, I guess I was average.

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

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

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

I: What?

L: Actually, I, used to do Judo……

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

L: Furthermore, for 8 years.

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

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

I: Ah, yes, I do think so.

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

I: With makeup properly done (lol).

 

 

 

LOVIN
(The Yellow Monkey)

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

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

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

 

ISSAY
(Der Zibet)

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

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

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

 

 

 

 

 

Notes:

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

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

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

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

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

⁵ Literally, ‘mother complex’.

⁶ Sexual context 😉

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

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

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

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

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

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

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

 

 

Translation: Yoshiyuki
Scans: morgianasama on LJ