Shiruetto mitsumeru Autosaidaa
Surechigai no renzoku
Hinihini jikan wa supiido appu
Kinou no yakusoku sae omoidasenai kurai sa
Geemu kara orita pureiyaa
Kodoku wo dakishime ikiru
Sensai na kokoro no purizunaa
Namae mo shiranai anata wo dakishimetai yo
Kawaita kokoro ni kuchidzuke wo
Sutoorii ga ima kara hajimaru sa
Reikoku na sora Ukanda Tsuka no ma no yume
Anata wo mou hanashitakunai
Reikoku na sora Miagete Idomitai no sa
Kono kurutta sekai no naka de Utai tsudzukeru
Sabishii sa gomakasu poppu chuun
Inori no koe sa kakikesu
Oidippusu tachi no nyuusu shou
Emi wo ukabe imaimashii sekai wo blow out
Motsureta kimochi ga modokashii
Atarashii kotoba de hanasou ka
Reikoku na kage Urotsuku Kao no nai machi
Anata no me dake hikari kagayaku
Reikoku na sora Nirande Sakebitai no sa
Kono yuganda sekai no naka de Anata to ikitai
Kono akumu kara mezameru tame
Atarashii kaado de hajimeyou
Reikoku na sora Ukanda Tsuka no ma no uta
Anata wo mou hanashi wa shinai
Reikoku na sora Miagete Inoritai no sa
Kono kurutta sekai no naka de Anata to ikitai
Asshuku sareta information Nousaibou wo hashiri mawaru
Ikinokori wo kaketa geemu
Umareta toki kara tanoshinderu sukearii koosutaa
Da-lu-la Da-lu-la Da-lu-la
Nai mono nedari no shinderera Wendi tachi wa piitaa wo wasureta
Ah Hiito airando wa hakuchuumu
Dareka no nichijou ni nante mattaku kyoumi wa nai no sa
Da-lu-la Da-lu-la Da-lu-la
Genshi no rizumu ni mi wo makase Koibito tachi wa toke ochiteku
Holly Noise Ima wo Dakishime nagara
Holly Noise Koko de Ukarete itai
Seinaru noizu wa shitsugaiki Yokubou wa itsumo riaru taimu
Toroketa taiyou wo nomihose Midara na yousei tachi ga odotte kureru sa
Da-lu-la Da-lu-la Da-lu-la
Romio wa jurietto wo sagasu Jerii wa tomu ni koi wo suru
Risei ga himei wo ageta nara
Kotoba wa itsumo kanashii iiwake Poizun masshuruumu
Da-lu-la Da-lu-la Da-lu-la
Genshi no biito ni izanaware Koibito tachi wa hitotsu ni naru
Holly Noise Ima wo Dakishime nagara
Holly Noise Koko de Tadayotte itai
Saboten kajitta saiko rizaado no tauchi mawaru Shiriaru kiraa ga waratteta
Sadisutikku na boukansha tachi
Kodoku to chinmoku Osoreru kodomo wa nigedashita
Genshi no biito ni ayatsurare Koibito tachi wa eien ni naru
Holly Noise Kimi to Tadayotte itai
Holly Noise Kimi to Hiito airando no hakuchuumu
Holly Noise Kimi to Ukarete itai
Holly Noise Kimi to Hiito airando no hakuchuumu
Holly Noise Holly Noise
BUCK-TICK’s 異空 -IZORA- Tour Final,
a magnificent show complete
Ongaku to Hito
23 July 2023
text by Ishii Eriko
photos by Seitaro Tanaka
【LIVE REPORT】
〈BUCK-TICK TOUR 2023 異空-IZORA-〉
2023.7.23 at Tokyo Garden Theatre
I watched the closing show of the masterpiece tour, BUCK-TICK TOUR 2023 異空-IZORA-. The previous time I saw them was on 19 April, at their Hachioji show so in short, of this19-show tour which visits a total of 17 locations, I’m only watching the first and last concert dates. I don’t know what happened along the way, what trials and errors and adjustments they made. But what I know for sure is that the first show and the last looked very different from each other. And that’s despite no changes with the videos and graphics projected on the screen, and the set list being more or less the same.
If I had to say, it’s so different that it’s as good as “a concert unveiling of a new show” versus “a theatre show”. If the purpose of a tour is to play their new songs live, then I think that’s something they have perfectly executed since day one. The 14-track long 異空 -IZORA- album underwent a reinterpretation in the two-hour-long concert.
They connected new songs to old; lining up the intense Showa-era flavoured song, THE SEASIDE STORY next to the distinctive city-pop song Mugen LOOP -LEAP-, and bringing in Jonathan Jet-Coaster right before the highlight of the main show Taiyou to Icarus with both songs sharing a similar theme. As written in my report of the first day, the band is capable of showcasing their work in this format precisely because they’ve kept going for 35 years and innovating throughout this time.
On top of that, what else changed to turn a “concert” into “theatre”? The issue of familiarity is of course one; the five members breathing as one, their bodies gradually growing more and more accustomed to the new songs. But what stood out above all of that was Sakurai Atsushi’s power of expression and performance.
Like Sayonara Shelter in the first half. This song was born from the imaginings of present-day Ukraine, and with each iteration on this tour, the performance of it turned into theatre. Sakurai cradles a small child, escapes to a safe place, dodging bullets as they fly past before returning fire himself with a gun in hand; these scenes captivate the audience as he sings.
Unlike a choreographed performance, he had, in short, fully immersed himself in it. The fear that one day the mic stand he holds at the end would look like an actual rifle seeps in. With the way the performance is executed, the pale moonlight shining from the screen in the back becomes more than a mere visual effect and somehow turns into an essential backdrop. Therein lies the difference between a simple performance and a dramatisation.
The next song which followed was Campanella Hanataba wo Kimi ni, and coming right before it was a short monologue where he said, “Father, mother, it’s going to rain tonight again. Sparkly gold rain is……” His words bring forth the image of bombs flying between Ukraine and Russia. Would the audience have been just as taken aback and drawn to the scenes on stage if he instead said, “With love from the far east, please listen to this song.”?
He performs wholeheartedly, turning one reality into a beautiful dream, swallowing both fact and fiction to turn them into one story. The singer who has surpassed the song ruled over the stage.
And there was Boogie Woogie in the midst of it all. On the first day of the tour, in the MC right before the song which sums up their pre-debut life, Sakurai said they’re “recreating a story from 35 years ago”. But now, on this final day of their tour, he changed his words to the following.
“How long can we keep going…… I wonder, how long can we keep going? Until death? No, even after death. We will do this even when we turn into ghosts. They are waiting! They are waiting!”
That was the moment a nostalgic song of the past became a song of the neverending future. Because no matter how far they run, no matter the city they head for, we (= they) who eagerly await them will never disappear. “Boogie woogie! Shoo-be-doo-ba!” These symbolic lyrics resound like an important chant.
This irreplaceable worldview will remain and persist even after the physical body has disappeared and turned into a soul. A man, who in an interview immediately after the album’s completion, said that he was still struggling, that it was hard to live, and that he was as depressed as ever, was the one to make such a powerful declaration.
I don’t think there’s any doubt that this tour is what made Sakurai talk about the future. There were a number of instances when I wondered whether the album, 異空 -IZORA- was really that positive a creation to begin with. Even though there are songs about loneliness and war, the beauty and sacredness of what they have accomplished are carried forth through his sombre and earnest performances. I believe catharsis would also come about amidst this.
The highlight of the main show was Taiyou to Icarus, where the protagonist rushes through to face death head-on. During this performance, Sakurai faced the radiant screen with outstretched arms. The sanctity of his silhouette remains unforgettable even now.
Four songs were played in the encore with old songs interspersed, once again leading us into the world of 異空 -IZORA-. Even though he’s only putting on makeup and dressing the way he likes, the faceless people all around are laughing. Even if such is the confession of the protagonist Hizumi who has no way out, it all slowly gets cleansed away at the end with Na mo Naki Watashi.
A single stalk of a white flower on screen. Midway through, it quietly starts to sway. The moment Sakurai pulls his outfit across his shoulder with a big swish, a blizzard of brightly coloured flowers rained down on the stage. Come to think of it, this move was not present in the first show. With this so-called visual effect showing perfect synchrony with the performer’s gestures, the magnificent show was made complete. It’s so beautiful that it left me speechless. This is the difference between the start and the goal. The difference between a “concert” and a “show”.
And just like this, they continued their way through their 35th anniversary year. The closing day is finally approaching. According to the extra news pamphlet which was distributed after the concert, BUCK-TICK TOUR 2023 異空-IZORA- FINALO will be held at Gunma Music Centre on 17 and 18 September.
The world of their new album evolved so much in the course of just one tour. While BUCK-TICK still continues to evolve on stage even now. I can only wonder what their final form will look like.
■ Limited Edition Version A / B (Blu-ray / DVD)
■ Regular Edition
■ Limited Edition LP Version
■ Limited Edition Cassette Tape
異空 -IZORA- | Album
〈CD〉※Same for both Limited and Regular editions
01 QUANTUM Ⅰ
02 SCARECROW
03 Warukyuure no Kikou 04 Sayonara Shelter ー destroy and regenerate-Mix
05 Ai no Harem 06 Campanella Hanataba wo Kimi ni 07 THE FALLING DOWN
08 Taiyou to Icarus 09 Boogie Woogie
10 Mugen LOOP -IZORA-
11 Noraneko Blue 12 Hizumi 13 Na mo Naki Watashi 14 QUANTUM Ⅱ
〈Blu-ray／DVD〉 ※Limited edition only
・Taiyou to Icarus MUSIC VIDEO
・Mugen LOOP MUSIC VIDEO
BUCK-TICK’s 異空-IZORA- Album Tour Begins
An optimistic vitality on opening day
Ongaku to Hito
25 April 2023
text by Ishii Eriko
photos by Seitaro Tanaka
【LIVE REPORT】
〈BUCK-TICK TOUR 2023 異空-IZORA-〉
2023.04.19 at J:COM Hall Hachioji
“BUCK-TICK TOUR 2023 異空-IZORA-”. I got to watch the first day of this simply titled journey. From start to the very end, it truly was the world of 異空 -IZORA-.
It might be obvious. For 35 years, the band has continued to enchant us with a worldview based off their latest album whenever they release one. It’s not unusual that they would perform all of their new songs, including the instrumental pieces. But I was shocked to find that they stick to the typical style of doing all of that in the main part of the show and then bring on a bit of a festive mood with some past favourites in the encore. It was the world of 異空 -IZORA- through and through, from start to end. I was once again reminded of their confidence and commitment to this masterpiece.
It would be misleading to simply describe it as “dark” but 異空 -IZORA- is an album made heavy by reality. That’s mainly due to Sakurai Atsushi’s mental state which gets redirected into a variety of stories telling of narratives like war, children being sacrificed, even the band’s personal presentiment of an end looming over them, the feeling of being trapped with nowhere to run, and other similar themes. When these are the things that get verbalised in all the songs, it is probably inevitable that [the album would] steadily grow heavier, more serious. But despite this, the concert depicting the world of 異空 -IZORA- was definitely not a sombre one at all.
I have to refrain from naming specific songs, but new songs were connected to old songs to bring out a different nuance from the album. The magic of such song selection was truly magnificent. Their single, Mugen LOOP -LEAP- was paired with a fantastical love song from recent years to create the atmosphere of popular Showa-era songs which transcends time and space. Similarly, their other single, Taiyou to Icarus was sandwiched between a rock’n’roll track we haven’t heard in a while and a nostalgic song that was released in the 90s, starting up yet another different story to tell. Singing of imminent death in Taiyou to Icarus, Sakurai does not break that storyline but instead continues it by depicting the healing, comforting, and salvation of souls in the afterward.
Past experiences complement the present; I believe Boogie Woogie makes for the best example of that. This rock song which Sakurai describes as “a story from over 35 years ago recreated using the latest technology” takes us on a journey looking back at BUCK-TICK’s history of moving from city to city and stepping up on stage once night fell.
The five members of the band are usually all over the place [in terms of dressing], but on this day, Imai Hisashi and Hoshino Hidehiko wore somewhat similar outfits, creating a kind of symmetry with Sakurai in the middle which looked great. The brothers Yagami & Higuchi standing firm in the back, the two guitarists with different music styles, and the charismatic vocalist. It’s late for me to realise now, but this is what harmony looks like.
Imai now stands on stage without the need of a cane, kicking his legs everywhere without restraint. As we headed towards the end, what I really wanted to remember and take note of was the glory of Sakurai’s story-telling ability as he blooms madly in profusion alongside Imai’s guitar solo warping space and time.
This is the power of a band who has kept going and renewing themselves throughout this time. The same members have the same shared times together and kept creating with a trajectory towards the latest album. The overall structure remains intact even when songs from 30 years ago are lined up alongside their latest tracks. Or rather, whatever they’ve done thus far appears to complement the present, so much so that it makes me feel as if the old songs might’ve been put there to make the new songs shine even brighter.
There is no doubt that the heaviness in 異空 -IZORA- is definitely something that came about from facing reality, but thanks to past songs and their level of experience, they managed to maintain the balance even now, without letting things get too serious. There were a number of instances where it looked as if the members of the band themselves were aware of this too.
What made such a show even more exciting was the voice of the audience. Masks are still mandatory. But cheering is now allowed and we could see from the member’s expressions how much morale it gives them. Thunderous applause, everyone singing along to the melody of the chorus, the various calls of “Accha~n!” “Imai-sa~n!” that could be heard between songs. In the past, this could’ve been thought of as something that would ruin their pitch-black world, but hearing this for the first time in three years, I now realise that it is really a reassuring courage, or rather, nothing but a show of support for the band.
I believe the reason why they are capable of so unapologetically releasing an album like 異空 -IZORA- is because of their past of continuity, and in a similar sense, because they have so many fans. War, death, trauma, distortions…… With these words, it sounds like an album close to despair, but these were turned into works of art, stories that could only become a form of entertainment because they have fans who are capable of digesting it. Maybe that is something they came to realise because COVID-19 happened. Even as we tremble at the prospect of an imminent end, nevertheless, BUCK-TICK continues on with certainty. An optimistic, forward-looking vitality. This was the only thing I felt with the start of this tour.
An unparalleled vocalist who pushed through with his one-of-a-kind performances, and a gentle heart
Real Sound
26 October 2023
Text = Imai Tomoko
My mind has been in a whirl since learning of the sudden passing of BUCK-TICK’s vocalist, Sakurai Atsushi. I was supposed to go watch BUCK-TICK’s performance on the 20th, one day after he fell. The cancellation of the concerts and the announcement of his passing were so sudden that even now, I cannot accept it. Just as shaken up are their fans who are enduring this grief as their thoughts and feelings continue flooding social media.
With a voice and looks both lustrous and beautiful, his tall slender frame was perfect for the stage. He was an unparalleled vocalist who wrote lyrics that were both aesthetic yet aggressive, and put on performances which were both theatrical and dramatic while he sang.
I have always thought that the overpowering presence he exuded on stage was almost deific, unapproachable. I believe that there are many who feel the same way, but I was reminded of this feeling when I watched the final concert of the BUCK-TICK TOUR 2023 異空-IZORA- at Ariake Garden Theatre on 23 July.
Songs overflowing with exquisite expressions in every nook and cranny in a large 8000-capacity hall; the limber movements with which he performs the songs using his whole body holds his audience rapt. As the singing performer, it would seem that Sakurai had broken new ground and with the great strides he was making with his songs, it felt as if his fellow band members had also scaled up their playing.
As they celebrated their 35th debut anniversary, what BUCK-TICK had been cultivating through the years felt like it was just about to ripen and it was plain to see from all the elaborate CGI and lighting which decorated the stage, all for Sakurai’s songs. I shared these thoughts with Sakurai after the show and he was really happy about it.
About two months after that, I got to watch the additional performances (BUCK-TICK TOUR 2023 異空-IZORA- FINALO) which were to be held at Gunma Music Center, in their hometown of Gunma. In a uniquely designed hall, the band appeared to have enjoyed performing there given the fact that they had played here countless times ever since they first debuted. The way Sakurai danced, flapping his arms like wings as he sang made me wonder whether he was referencing the Jomo Karuta card “Gunma Prefecture, shaped like a crane in flight” (つる舞う形の群馬県 / tsuru mau katachi no gunma-ken). I wanted to ask him about it the next time we met, but that chance was never to be.
Sakurai’s live performances were special. Singing with a clear voice, he conveys the worlds of his songs using a variety of props. An ostrich feather stole or a sheer shawl, or an elegant hat and walking stick, or masks that look like they’re for a Venetian party or an artsy candelabrum; these are just some of the things he uses depending on the song. For example, a single stole can be draped over the shoulders or worn over the head, creating a completely different scene with a little ingenuity.
He further captures the imaginations of the audience with a little inventiveness in his outfits which brings different characters to life. One moment, you wonder whether he just showed us a glimpse of his legs in kneehigh stockings and the next moment, he’s dancing gracefully in a black crested kimono. His physical expressions which even involve the slightest movements of his fingertips more effectively enhanced their songs than any stage set could.
The one who influenced Sakurai to no small extent with such performances was Der Zibet’s ISSAY (vocalist) who suddenly passed away in August. Not only were they fellow vocalists, the two of them had similar tastes in music and art, and had been long-time friends and mutual inspirations to each other. Their relations led to Der Zibet and BUCK-TICK participating in each other’s albums, and even guest appearances at their respective concerts.
On the topic of performing together, ISSAY said, “When it comes to Atsushi-kun, he’s a person who has a unique energy when he’s on stage so that clash between both our energies feels wonderful, truly.” While Sakurai had this to say: “I had to respond to his serious challenges in each moment so I really enjoyed it.” (※1)
BUCK-TICK/Kemono-tachi no Yoru YOW-ROW ver.(TOUR2020 ABRACADABRA ON SCREEN)
Once Sakurai leaves the stage, he becomes an unassuming person of few words, but he’s always gentle, treating everyone kindly and as equals, with the natural disposition to pay attention to detail.
Many musicians and close friends would always gather for BUCK-TICK’s annual year-end performance the Nippon Budokan, and then join the afterparty which goes on until morning. He had said before that he actually likes to drink alone but he would share a toast with each and every person there.
Of course, it was not only Sakurai but every member of BUCK-TICK who cherished their connections with people, and maintained good relations with many. I believe the outpouring of grief for Sakurai on social media is a clear indicator of the strong interpersonal relationships BUCK-TICK has forged. It also goes without saying that his sincerity, kindness, and generosity have been conveyed to and charmed countless fans through his songs and live performances.
BUCK-TICK started out with Sakurai, and fellow schoolmates Imai Hisashi (guitarist), Hoshino Hidehiko (guitarist), Higuchi Yutaka (bassist). At first, Sakurai was the drummer but switched to being the vocalist when he proposed, “I want to sing.” Higuchi’s older brother, Yagami Toll (drummer) then joined them and the band started taking their activities more seriously. After that, the band released their first single, TO-SEARCH in 1986 under indie record label Taiyo Records (太陽レコード).
The next year, they released their first indies album HURRY UP MODE and soon after made their major label debut with Victor Entertainment with a concert video, BUCK-TICK Phenomenon at LIVE INN (バクチク現象 at LIVE INN). At the time, it was unusual to start a music career with a film release, and when asked about the reason behind this decision, even now I can still remember Yagami’s reply, “Because we focus on visuals (ビジュアル重視 / bijuaru juushi).” These words come before the term “visual-kei” was coined.
Back then, you would typically see “member recruitment” flyers pasted on the walls of livehouses where those who stuck them up would detail their music preferences and list their favourite bands. At some point, the term “ビジュアル重視” became a common sight on these flyers. This is because in the dawn of the band boom, people came to believe that looks are also an important deciding factor for whether you’ll be featured on TV or in magazines.
I believe BUCK-TICK at the time focused on punkish sprayed-up hair and new-wave styled outfits instead of Sakurai’s attractive facial features, but Sakurai’s presence was more than enough to draw attention. I heard that MAGUMI (vocalist/trumpeter) from LÄ-PPISCH, another band who also debuted through Victor Invitation (Invitation) said, “Acchan’s (Sakurai) beauty is near divine.” There’s no denying that hearing this changed the way I saw BUCK-TICK.
BUCK-TICK / 「JUST ONE MORE KISS」Music Video
The band has done countless interviews since their debut, but their earliest interviews were an uphill battle for this reticent group. As their popularity grew, magazines also began to dedicate more and more pages to them. They started conducting solo interviews where the members of the band gradually opened up; Sakurai started giving his insights on lyrics that were being read into, while Imai began to talk about his intent behind the sound constructs.
With Sakurai, I also got to talk to him about his favourite artists and songs, as well as books and films and many more topics, all of which could be inferred from his music. Like how he often listened to popular songs from the Showa Era as a result of his mother’s influence, his love of Alain Delon and Sawada Kenji, his being influenced by Miwa Akihiro and Edith Piaf. The topics were endless.
BUCK-TICK / Aku no Hana Music Video
In the early days of BUCK-TICK, Imai also wrote the song lyrics but later on, Sakurai began composing them. Ever since the beginning, the lyrics which Sakurai wrote were never simple love songs; they were love songs which were also aesthetically lonesome.
He said before that he wanted to depict “post-sex depression”, but I believe that was gradually channelled towards digging deep into exploring the human psyche. Immersing oneself in an aesthetic of decadence is a result of coming into contact with the dark side of humanity where pain, loneliness and cruelty which lurks in that darkness comes to the fore of human nature.
Woven into the songs in his own words were his explorations into the complexities of gender, differing religious views, and the changing values of society through history. Recorded in the album entitled Six/Nine which they released in 1995 was the song, Rakuen (Inori Negai) [楽園 (祈り 希い)]」and in it was a line which goes “Garden of Love where the children of god kill each other”. It still hits me straight in the heart even now, and leaves me in admiration of his keen insight.
BUCK-TICK「Rakuen（Inori Negai）」
Speaking of “aesthetically pleasing yet decadent”, Sakurai may give the impression that he sings about things that are detached from reality, but he was in fact an artist who kept a close eye on reality. This was one side of him that really showed in the band’s latest release, 異空 -IZORA- (2023). Recording commenced before the Ukraine invasion which began in February 2022, but there are a few songs in the album which seemed to predict it.
From the start with SCARECROW’s first line, “Can’t run away There’s nowhere for me anymore”, to Sayonara Shelter which seemed to depict a post-nuclear war world, to Campanella Hanataba wo Kimi ni where he gently sings, ‘Mr. Soldier Machine gun Missile “Flower bouquet” ／ Children Father Mother “Flower Bouquet”. As he sings this song, Sakurai mimed holding a baby before turning small and cowering on stage in the end.
Also, Hizumi, which he begins in concert with a monologue that starts with “My name is Hizumi,” is a song that expresses the bitterness of a person who struggles with gender issues. Na mo Naki Watashi (名も無きわたし) follows right after that and it comes across as a song about everyone existing as equals regardless of name or nationality or gender.
I believe that Sakurai could be so daring to pick difficult themes like these only because of Imai and Hoshino’s incredible pop-sensibilites and aggressive arrangements. But is there any other artist who could take such heavy themes and sing them in such a beautiful and easily understood manner? I cannot think of any.
BUCK-TICK「Campanella Hanataba wo Kimi ni」
Looking back, there’s an endless amount of things to talk but most of all, Sakurai Atsushi was an outstanding vocalist, a virtuoso of weaving words together to bring across a song. In addition to that, no amount of words can describe how brilliant he was at expressing himself on stage. When I think about how he probably still wanted to go on singing, I cannot imagine how vexed he was to have fallen on stage.
It’s not difficult to foresee how much more accomplished a singer he could’ve become if he continued to sing, and there’s no doubt that he would also add another layer of depth to his lyrics.
On his personal Instragram, Imai wrote, “I wanted to play guitar by Acchan’s side forever. But, well. We’ll keep going, alright?” (※2) The four members of BUCK-TICK are probably the saddest of us all at the loss of Sakurai, but I hope that they will continue for us as per Imai’s words.There is no end to my grief, but I believe that Sakurai would want us to continue listening to the songs he has left behind for us.
May Sakurai Atsushi’s soul rest in peace.
BUCK-TICK / JUPITER Music Video
Notes:
※1: From the November 2010 edition of PHY (Ongaku to Hito)
BUCK-TICK leads into the future
at their concert in hometown, Gunma
Ongaku to Hito
22 September 2023
text by Ishii Eriko
photos by Yamauchi Hiroe, Aoki Sayaka
【LIVE REPORT】
〈BUCK-TICK TOUR 2023 異空-IZORA- FINALO〉
2023.09.17 at Gunma Music Center
The closing of their 35th anniversary year. Held in a retro two thousand people-capacity hall at the Gunma Music Center in Takasaki with a relatively small stage and sound system that one could hardly call the best. This is also a venue that BUCK-TICK hasn’t utilised in a while.
I recall the gathering of twelve thousand people in Yokohama Arena one year ago where state-of-the-art LED screens were used. That marked the start of their momentous 35th anniversary of the band’s debut. In terms of the scale of the fireworks launched, it was by far the most spectacular and flamboyant stage. The weight of what they carry was also another factor which added to it. In the year since then, I’ve constantly felt like something was weighing me down
Frankly speaking, it’s the pandemic and the war. We have entered a time where things which we’ve always had without question, like good health and peace and children’s laughter are increasingly under threat. No in-person concerts could be held for their previous album, ABRACADABRA and the subsequent tours which came about afterwards had shows that they had no choice but to forgo due to members of the band getting injured or catching COVID-19.
Perhaps they could’ve made the choice to use this opportunity to take a break, but with the thought of their remaining time counting down in the back of their heads, none of the members of the band bring themselves to do so. There is no time to waste. Anniversary campaigns came one after another, a new album which they originally wanted to release as two CDs, a tour schedule that had already been set……
The words we hear right at the start of 異空 -IZORA-, “Can’t run away There’s nowhere for me anymore”, sounded as if they could’ve been Sakurai Atsushi’s true feelings just before the celebration of their 35th anniversary year; beyond grateful that they can celebrate with everyone. But at the time, the audience weren’t allowed to make even a sound. We couldn’t follow their lead to celebrate at all. Watching their performance of Aikawarazu no Are~ on that stage left such an impression on me that it felt like a horror movie I could never forget, and the one and only new song they performed, Sayonara Shelter, brought the reality of Ukraine in front of our eyes. The celebratory mood was nowhere to be found.
The number of war-related songs only increased in their new album. Like Campanella Hanataba wo Kimi ni (花束を君に / A Bouquet for You) and Taiyou to Icarus (太陽とイカロス / The Sun and Icarus). Furthermore, the despair of no escape evolved through concrete characters in Warukyuure no Kikou (ワルキューレの騎行 / Ride of the Valkyries) and Hizumi (ヒズミ). What I saw during TOUR 2023 異空-IZORA- which ran from April to July was Sakurai’s incredible performance with the way he wholeheartedly engulfs himself in the narratives. The band, pressed by an imminent reality, is applying this to the stage, showing us how they turn it into entertainment through radical performances. I believe that it is in this foundation where the anxiety of “Can’t run away There’s nowhere for me anymore” exists as a constant.
The final chapter and, at the same time, the end of their 35th anniversary year. A concert which marks two ends is a little different than the usual. The selection of songs did take into consideration the flow of the tour, but with the inclusion of songs like ICONOCLASM and Ningyo -mermaid-, which were not in the original lineup added to the momentum and added a festive joy back into the show. Even more striking was the removal of Jonathan Jet-Coaster, a song thematically similar to Taiyou to Icarus from the setlist. In short, the sense of confrontation against war had been eased just a little bit.
They’re not telling us to forget all the bad things. They’re also not a band who’s all-smiles, always saying that things are alright. But with the weight of reality carved into a number of songs which they perform in earnest on a near daily basis, perhaps the stage is where they can find a break from reality. The band continues even after the anniversary year concludes. In that case, what will the five of them start going forward? Unlike Takasaki City Theatre, unlike Takasaki Arena, it is the cosy Gunma Music Center that is the closest possible stage to the band’s starting point.
The first time BUCK-TICK took the stage here was in 1988 for their SEVENTH HEAVEN tour. The very next year, they suspended activities due to Imai’s scandal and it was on this very stage that they made their come-back. For all their tours up until 1993, they held the final two days of concerts at this venue so there’s no doubt that this is a closing location filled with precious memories. Digressing, during the encore, Imai took a 360-degree video of the audience floor and the stage with his smartphone. That video also includes a heartwarming scene of Yuta dashing in to try and get in the shot. Whether it was during their performance, in their expressions, or for the MC, the five members of the band seemed comfortable and relaxed.
The encore. Sakurai begins his self-introduction as the transgender lady, Hizumi-chan. Beginning with the words, “Father, mother, I love you, good bye……”, the way we all got sucked deep into the bog of Hizumi is the greatest masterpiece, the nightmarish highlight that grew out of TOUR 2023 異空-IZORA-. Singing the words, “The traffic lights turn red” “If it’s going to be this way”, what she has her eyes stuck on is a reality where it’s all too late. Merciless is the pen of lyric composer Sakurai where “rampaging” takes the place of “approaching” in the final line of the song; alluding that the future which should’ve continued as planned is about to get a sudden shake up and lose all equilibrium. I would even say that it is too cruel, too disturbing to write something like this.
But Hizumi-chan has grown through the tour and now, she refuses to sing that aloud. After singing “The next train is…”, Sakurai goes silent and at the end of the chorus sings, “Ah〜”. But it is intentional enough as it is. Just like that, the curtains close with Na mo Naki Watashi (名も無きわたし / I, Nameless) and the show ends with QUANTUM II. Thus far, everything goes on as per normal, but on this day, the band heads backstage. And then, the second encore starts again.
Sakurai sounded happy delivering his MC. With a “Thank You!”, New World’s sparkly melody which made it feel like we could just about see the little droplets of sound began. This radiance was a true lifesaver. That something which had hung on since their Yokohama Arena show. That rainy gloom which never seemed to clear. Of course, neither COVID-19 nor the war has gone away. Even so, BUCK-TICK heads into a new world. The memories of one year ago which felt like an unforgettable horror dissipated in the white light. “Cut through this infinite darkness”. After a long time, we could finally catch a glimpse of BUCK-TICK inviting us into the future.
【SETLIST】
SE. QUANTUM I
1. SCARECROW
2. Warukyuure no Kikou (Ride of the Valkyries)
3. ICONOCLASM
4. Zangai (残骸)
5. Ai no Harem (Harem of Love)
6. Sayonara Shelter destroy and regenerate-Mix
7. Campanella Hanataba wo Kimi ni (A Bouquet For You)
8. THE SEASIDE STORY
9. 人魚 -mermaid-
10. Mugen LOOP -LEAP-
11. Boogie Woogie
12. Noraneko Blue (Stray Cat Blue)
13. THE FALLING DOWN
14. Tenshi wa Dare da (天使は誰だ)
15. Taiyou to Icarus (The Sun and Icarus)
16. die
ENCORE 01
17. CLIMAX TOGETHER
18. Cuba Libre
19. Coyote
20. Hizumi (ヒズミ)
21. Na mo Naki Watashi (名も無きわたし)
ENCORE 02
22. New World
SE. QUANTUM II
【Concert archive information】
BUCK-TICK TOUR 2023 異空-IZORA- FINALO
18 September 2023 (Mon/Holiday), Gunma Music Center
Today, it was announced that Sakurai Atsushi, the vocalist of the rock band BUCK-TICK has passed away on 19 October from brain stem haemorrhage. Music critic Ichikawa Tetsushi, who “spent a lot of enriching times with him through my work for Rockin’on Japan and Ongaku to Hito” during the 1980s and 90s, mourns his death.
Despite the fact that BUCK-TICK has consistently been playing peculiar rock music for the past 36 years as Japan’s most avant-garde band who are dark and experimental and not the most appealing to the masses, they are still Japan’s biggest pop-sounding rock band. And their frontman, Sakurai Atsushi was the embodiment of their extraordinary presence and worldview; the rare “pessimistic entertainer”.
The Sakurai Atsushi I know was a person who seemed to have been born to sing in a rock band. He was the “handsome” older brother both inside and out. The young man who stood before a conveyor belt in a factory back before he was formally associated with the band, wondering, “Why am I doing this stuff?” came into contact with music, particularly dark heavy rock music and found what would awaken him to his style of expression; a form which looked both fragile yet promising.
In the last century, I conducted countless interviews with him and I can’t even begin to fathom how many hundreds of hours I spent drinking with him. Despite the smile on his face, on the inside, he was always self-deprecating, asking himself over and over, “What am I?” Even so, he continued to toss and turn in agony as he attempted to express himself as the boy from the blind alley. But because he’s the person he was, he created the unheard-of genre of “stylish pessimistic rock”.
Needless to say, a worldview so unique to him is what gathered sympathisers from far and wide, regardless of nationality or age. Also, when we listen to BUCK-TICK’s music from this past decade or so, we get the message that Sakurai himself revelled greatly in his innate “tiresomely sensitive” disposition.
It is truly a shame [that this has happened] because I was glad to see a Japanese musician ageing as well as Sakurai Atsushi, still going strong 35 years since the erstwhile band boom. This obituary which comes only two and a half months after the passing of DER ZIBET’s ISSAY who he admired so greatly, the other half the duo I call the “Decadent Mentor-Mentee Duo”, is simply heartbreaking.
My sincere condolences to one and all. Ahh.
Ichikawa Tetsushi Music critic. Author of numerous liner notes and books like BT8992―Buck-Tick’s metamorphosis1989-1992, a collection of BUCK-TICK interviews published by Rockin’On.
Kicking off the celebration of the 35th anniversary of their major debut in September 2022, BUCK-TICK embarked on a national tour named BUCK-TICK TOUR 2023 異空-IZORA- following the release of their latest album, 異空 -IZORA- in April. For their final stop of the tour, they returned under the skies of their hometown, Gunma on 17 and 18 September, additional shows named BUCK-TICK TOUR 2023 異空-IZORA- FINALO, which were intended to conclude this celebratory anniversary year. The news of these shows meant something special to their fans when it popped up at the end of their concert held in July at Tokyo Garden Theatre.
Alighting at the JR Takasaki Station on 17 September, you will be greeted by posters created for this two-day event. As you breathe in the air of their hometown, you walk down the path leading from the station to Gunma Music Center. The skies over Takasaki are clear on this day. Once you arrive at the front of the venue, you find five life-size standees, one for each member of the band on display. Your excitement can only grow with this second greeting.
Ever since their SEVENTH HEAVEN TOUR in 1988, the band has played numerous times at Gunma Music Center which was established in 1961, a year before the band’s drummer, Yagami Toll was born. That modern structure seemed to suit the world of 異空 -IZORA-.
The story encased in their album 異空 -IZORA- reflects the unsettling state of the world, the strain behind a diverse society, and the actions and emotions of the people living in these settings. The narrative only grows in depth with each BUCK-TICK TOUR 2023 異空-IZORA- show they perform, and it was thought that it had come to a close following the overpowering performance they staged on the last day of their Tokyo Garden Theatre dates.
In BUCK-TICK TOUR 2023 異空-IZORA- FINALO, the songs kept their album placements while older songs were changed or added into the set list, leaving the audience with different feel and impression than before.
As the instrumental track, QUANTUM Ⅰ played, a rousing applause accompanied by cheers rose up as from the left side of the stage entered Imai Hisashi (guitarist) first, followed by Yagami, Higuchi Yutaka (bassist), and Hoshino Hidehiko (guitarist). The moment the four of them took their positions with their instruments in hand, the audience were unable to contain their high spirits and the applause turned to rhythmic clapping. When the music came to its climax, Sakurai Atsushi (vocalist) appeared in the centre of the stage with a black hat and black feather boa while dressed in a black outfit which left his thighs uncovered.
The first song, SCARECROW sounded synchronised with the silhouette of a scarecrow which was projected in the background and even featured the crow which attacks the scarecrow in the lyrics. The four members who played instruments were all dressed in white, making them look especially uniform. The increasing panic and distress at the reality of having nowhere to run grows from the chorus as they up the tempo and push it to the very edge.
That tension carries into the industrial track, Warukyuure no Kikou (Ride of the Valkyries / ワルキューレの騎行) and after it fades away, the band leads into ICONOCLASM as Imai scratches the strings of his guitar in tandem with the familiar “klang klang kla-klang”. Cheers erupted for this song which was not part of this tour’s original setlist. The excitement in the hall heated up even more when in the middle, Sakurai changed the lyrics of the line “Five for Japanese Babies” to “Five for Takasaki Babies”.
The next song, Zangai was also another track which was making its first appearance in the setlist of this tour. It felt as if this rock tune about a powerful lifeforce blazing aflame while living alongside death had something in common with the worldview of 異空 -IZORA-.
Flames of torches danced and the atmosphere changed to the sound of exotic percussion music as Ai no Harem (Harem of Love / 愛のハレム) played. With tingsha bells swaying in his right hand, Sakurai’s melancholic voice sang full of emotion in the sweet luscious music.
Sakurai’s performance of conflicted, gun-wielding soldier sending his child to a safe house in Sayonara Shelter destroy and regenerate-Mix has always had the audience rapt, but on this day, the most impactful moment was seeing him gently place the mic stand, which he always held like a gun, on the floor. During the tour, I’ve seen his performance of throwing it away numerous times, but seeing him convey his emotions of this moment with such a performance on this day was intriguing.
“Father, Mother, here’s a bouquet of flowers for you,” said Sakurai before jumping into the catchy melody of Campanella Hanataba wo Kimi ni (A Bouquet For You / 花束を君に) where he sings about the graphic nature of war from the perspective of a child. Following two mermaid songs, THE SEASIDE STORY and Ningyo -mermaid-, a samba rhythm took over the beachy atmosphere as Mugen LOOP -LEAP- brought about a fantastical soundscape. After that, a short MC.
Perhaps the audience’s expectations of something special happening because this is a concert in their hometown had been impressed upon Sakurai. Say, for example, like how he once introduced the members in reference to Jomo Karuta in a previous show. But instead, Sakurai dodged their expectations with, “People tend to speculate that there’s always something (special) happening in Takasaki (shows)…… There isn’t.” Then, he added, “The members of our band managed to meet each other in our hometown. I suppose that’s about it.”
Moving on, he said, “That girl’s been waiting for us. That’s why we got on stage.” And they continued the show with Boogie Woogie, a song filled with lyrics referencing the band’s early days, and the bluesy Noraneko Blue (Stray Cat Blue / 野良猫ブルー). The shuffle beat song, THE FALLING DOWN was followed by Tenshi wa Dare da (天使は誰だ), both of which reference the Book of Genesis. After that, we finally arrive at the climax of the main show.
First, Taiyou to Icarus (The Sun and Icarus / 太陽とイカロス), a lighthearted melody that accompanies the heavy theme of war. When Sakurai sang, “Kanashiku wa nai Kore de jiyuu da”, he spread his arms out, moving them like flapping wings with a bright red sun in the background. The sight could only be described as beautiful, yet sad. Then came die, a song that led us into the spiritual which comes after. Huge spider lilies came on screen to the immersive sounds. Under a light that seems to envelop the whole space, I felt a certain kind of ecstasy.
The encore started with Yagami Toll’s drum solo and turned the heat up with the high tempo CLIMAX TOGETHER where Sakurai sang the line, “WE LOVE ALL dakishimetai” with all his hopes from this 35th anniversary. They then continued with Spanish-inspired songs, Cuba Libre and Coyote, followed by Hizumi.
Centrestage was a candle lit aflame and a chair. When Sakurai sat down and started his monologue, both Sakurai’s expressions and the atmosphere of the room changed. Next to Sakurai who sang with piercing eyes and a forlorn expression was Imai who hopped and skipped around dancing Jenkka. The imbalance of the performance only added to the melancholy of it all.
During Na mo Naki Watashi (名も無きわたし) which sings of life coming into bloom, the sight of petals dancing in the air seemed to expand from the stage to include the whole hall where paper petals float down. While the clear ensemble and powerful vocals brought about a sense of euphoria, they also led towards catharsis.
There was no double encore during the tour so New World was not originally performed during the tour. On this day, the band closed off their 35th anniversary year shining brightly at their future with this track which was filled with a light befitting of BUCK-TICK as they sped into a new chapter. At the same time, it begs a question; will the protagonist from Taiyou to Icarus who pointed at the sun while riding in an aircraft really call our “present” world that has been entrusted to us beautiful? Would our future become something we can be proud of?
Along with the lingering memories of the concert, that question remains in my mind even a few days after the event. The things that connect from past to present and to future. The things we want to protect. I think the message that 異空 -IZORA- carries has been thoroughly conveyed into my heart through this tour.
After the performance, a pleasant surprise was waiting outside for the exiting audience. Using projection mapping, messages from the band members and “thank you” in languages from all over the world were projected onto the exterior of the venue. What great hospitality! Voices of appreciation for this thoughtful display were all around.
The live-streamed performance on the next day, the 18th was a special one that was closed to external parties so that the band got to share a fulfilling time with their fans. I hope that you’ll enjoy this show in the archived stream that will remain available until 23:59 on Tuesday, 26 September (or 23:59 on Monday, 25 September for certain streaming platforms).
In a printed extra that was distributed after this performance, the future of BUCK-TICK was written; they announced that they will be holding THE DAY IN QUESTION 2023 on Friday, 29 December at Nippon Budokan, along with the production of a movie commemorating their 35th debut anniversary year. We eagerly await the completion of this film to see how it will portray the band who ran through the anniversary year without a break.
SETLIST BUCK-TICK TOUR 2023 異空-IZORA- FINALO
2023.9.17-18 Gunma Music Center
SE. QUANTUM I
1. SCARECROW
2. Warukyuure no Kikou (Ride of the Valkyries)
3. ICONOCLASM
4. Zangai (残骸)
5. Ai no Harem (Harem of Love)
6. Sayonara Shelter destroy and regenerate-Mix
7. Campanella Hanataba wo Kimi ni (A Bouquet For You)
8. THE SEASIDE STORY
9. 人魚 -mermaid-
10. Mugen LOOP -LEAP-
11. Boogie Woogie
12. Noraneko Blue (Stray Cat Blue)
13. THE FALLING DOWN
14. Tenshi wa Dare da (天使は誰だ)
15. Taiyou to Icarus (The Sun and Icarus)
16. die
＜ENCORE1＞
17. CLIMAX TOGETHER
18. Cuba Libre
19. Coyote
20. Hizumi (ヒズミ)
21. Na mo Naki Watashi (名も無きわたし)
＜ENCORE2＞
22. New World
SE. QUANTUM II
Upcoming Releases
LIVE Blu-ray&DVD
『TOUR THE BEST 35th anniv. FINALO in Budokan』
THE DAY IN QUESTION 2023
Friday, 29 December 2023 @ Nippon Budokan, Tokyo
Doors open 17:30, show starts 18:30
All seats designated, ￥11,000 (w/tax)
(Inquiries) SOGO TOKYO 03-3405-9999
General ticket sales starts: Saturday, 25 November 2023
Streaming information 【Concert archive information】
Event day: 18 September 2023 (Mon/Holiday)
Event name: BUCK-TICK TOUR 2023 異空-IZORA- FINALO
Venue: Gunma Music Center
For more details on archived streaming, please visit the
Official Website: https://buck-tick.com/feature/specialsite_2023tour_finalo
Hitoshizuku ame wo
Hitoshizuku kudasai
Hitoshizuku ai wo
Hitoshizuku kudasai
Na mo na-i watashi wa
Anata to deaimashita
Na mo na-i watashi ni mo
Chou ya Kaze ya Yume ga..
Kurui saku hana tachi yo
Ima wa sa-ki mi-da-re yo
Kurui saku inochi domo
Midare Midare Midare
A-ri-ga-to-u ai wo
hidamari mo hibi wo
Ichi rin no hana wo
kami kazari kimi ni
Na mo na-i watashi wa
Anata to o wakare kita
Na mo na-i watashi ni mo
Aka ya ki no yume ga..
Kurui saku hana tachi yo
Ima wa sa-ki mi-da-re yo
Kurui saku inochi domo
Midare Midare Midare
Kurui saku hana tachi yo
Ima wa sa-ki mi-da-re yo
Kurui saku inochi domo
Midare Midare Midare
English
By: Yoshiyuki
A drop of rain
A drop please
A drop of love
A drop please
Although nameless, I
got to meet you
Even nameless, I
met butterflies, felt the wind, had dreams..
All the flowers blooming in frenzy
Now bloom in exuberance
Together with lives blooming in frenzy
Flourish In riot Ablaze
Thank you for the love
and the sunshine and each day
A single stalk of flower
to decorate your hair
Although nameless, I
have come to bid you farewell
Even nameless, I
dream of red, of yellow..¹
All the flowers blooming in frenzy
Now bloom in exuberance
Together with lives blooming in frenzy
Flourish In riot Ablaze
All the flowers blooming in frenzy
Now bloom in exuberance
Together with lives blooming in frenzy
Flourish In riot Ablaze
Notes:
¹ There’s some sort of dream interpretation based on the colours you dream of and the interpretation in Japanese culture (pop culture?) is different from Western interpretations so I’ll be using the Japanese one for this song. To start, dreaming in bright shades is generally positive while darker shades imply negativity.
For red, brighter shades imply things like “passion”, “heightened vitality”, “triumph” and tell of good things to come in a person’s love life. Darker shades imply “anger”, “misfortune”, “conflict”, or generally poor mental or physical health.
For yellow, brighter shades imply “intuition”, “abundance”, “liveliness”. It refers to general luck coming your way. Darker shades imply “dissatisfaction”, “indecision”, “stagnation”, “instability”; a sign that you’re mentally troubled by something.
From Sakurai’s interview in FT107, from his point of view, the arpeggio in the intro immediately brought to mind a single flower stalk swaying in the wind. He then goes on to talk about personifying it from that image, thinking of himself as that flower blooming on its own, critters coming to it, being blown by the wind and equally rained upon despite having no name. He describes the song as a story of life with encounters and the eventual farewells.
From Imai’s interview in FT107, the remixed version for the single was done according to the band’s specifications. Imai in particular asked YOW-ROW to bring the single version to “an even more major scale”, and DM-ed him the chord progression to use. YOW-ROW then added his own vibe and flavour to it, giving it a more complex feel which Imai really liked.
From Imai and Yokoyamal’s interview in FT107, the interviewer was talking about the “emotional switch” in the song and mentioned that they were trying to explain what they felt to Hide (the very first person who was interviewed for this issue) but they couldn’t quite get it across. Imai commented that Hide probably wouldn’t get it anyway and would be confused. The interviewer then shared that in the end, Hide said, “I don’t really get it either, so I’m sure it’s not particularly important to Imai.”; a statement which Imai profusely refuted.
Nan no tame ikiru?
Umaku ikanai O keshou
Hido i shuumatsu ne
Okaasan no yume wo?
Yume wo okashimashita
Mune kakimushi ru
Rarabai Chi ga tomara.. nai
Kizuguchi wo na-me-te
Machi ga Boku ga
Kimi ga Hizumu
Yuugure buranko yu ra
Dare mo ibitsu
Fushigi ni ikiteiru
Mado ni akari ho ra
Otousan no yume wo?
Yume mo koroshimashita
Nichiyou ame moyou
Rarabai Guddobai Sayona.. ra
Kiri kizande shima.. e
Machi ga Boku ga
Kimi ga Hizumu
Shingou aka ni kawa ru
Ojiisan Obaasan
Te wo tsunagimashou
Kamau na!
Hottoite choudai..
Otousan Okaasan
Wasure nai de ne
Tottemo aishitei ru
Konna hazuja..
Yasashiku naritai
Tsugi no densha ga kuru.. u
English
By: Yoshiyuki
Why am I alive?
It’s not going well, this makeup
What a horrible weekend
Mother’s dreams?
I violated them
Clawing at my heart
Lullaby The blood won’t.. stop
I lick my open wounds
The city and I and you
Distort
Swing set in the sunset Swing
Everyone is distorted
Living strangely
There’s a light in the window Look
Father’s dreams?
I killed them too
Sunday Skies threatening rain
Lullaby Goodbye Fare..well
Chop me up in.. to pieces
The city and I and you
Distort
The traffic lights turn red
Hey, mister Hey, madam
Let’s hold hands
Don’t bother!
Leave me be Please..
Father Mother
Don’t forget me
I love you so so much
If it’s going to be this way..
I want to become kinder
The next train is rampag..ing
Notes:
From Imai and Yokoyamal’s interview in FT107, Imai shared that the working title for this song was originally “SPOOKY” because he was thinking of ghosts and spectres (like Gegege no Kitaro) with the music’s vibe so Sakurai’s bleak lyrics were quite a surprise to him. The vibe he originally had in his head was the kind of inevitable feeling you’d get as a kid when you see the sun setting on a Sunday evening.
