Omoi tobira Mukou gawa
Naimitsu himitsu Bara no moto
Kitsune Ookami Hebi Fukurou
Kuroyagi Yamaneko Karasu Taka
Yatsura no keikaku wa roman
Tagon muyou
Yume monogatari no jikkou han
Akarui mirai no kakushin han
Suburosa Suburosa Get yah
Suburosa Suburosa Get yah Suburosa
Tetsu no okite no nanbaazu
Naisho naisho no bara no moto
Arufa Buraboo Chaarii
Deruta Ekoo Fokkusu torotto
Yatsura no keikaku wa kebekku
Sekai PEACE
Yume monogatari no jikkou han
Akarui mirai no kakushin han
Suburosa Suburosa Get yah
Suburosa Suburosa Get yah Suburosa
Omoi tobira Mukou gawa
Naimitsu himitsu Bara no moto
Kitsune Ookami Hebi Fukurou
Kuroyagi Yamaneko Karasu Taka
Yatsura no keikaku wa roman
Tagon muyou
Yume monogatari no jikkou han
Akarui mirai no kakushin han
Suburosa Suburosa Get yah
Suburosa Suburosa Get yah Suburosa
Tetsu no okite no nanbaazu
Naisho naisho no bara no moto
Arufa Buraboo Chaarii
Deruta Ekoo Fokkusu torotto
Yatsura no keikaku wa kebekku
Sekai PEACE
Yume monogatari no jikkou han
Akarui mirai no kakushin han
Suburosa Suburosa Get yah
Suburosa Suburosa Get yah Suburosa
Suburosa Suburosa Get yah
Suburosa Suburosa Get yah Suburosa
English
By: Yoshiyuki
A heavy door On the other side
A clandestine secret Under the rose
Fox Wolf Snake Owl
Black goat Wildcat Crow Hawk
Romanticism is their plan
Mum’s the word
Perpetrator of a pipe dream
Wilful offender of a bright future
Subrosa Subrosa Get yah
Subrosa Subrosa Get yah Subrosa
Numbers of an iron-cast rule
Under the secret sub-rosa¹ rose
Alpha Bravo Charlie
Delta Echo Foxtrot
Quebec is their plan
World PEACE
Perpetrator of a pipe dream
Wilful offender of a bright future
Subrosa Subrosa Get yah
Subrosa Subrosa Get yah Subrosa
A heavy door On the other side
A clandestine secret Under the rose
Fox Wolf Snake Owl
Black goat Wildcat Crow Hawk
Romanticism is their plan
Mum’s the word
Perpetrator of a pipe dream
Wilful offender of a bright future
Subrosa Subrosa Get yah
Subrosa Subrosa Get yah Subrosa
Numbers of an iron-cast rule
Under the secret sub-rosa¹ rose
Alpha Bravo Charlie
Delta Echo Foxtrot
Quebec is their plan
World PEACE
Perpetrator of a pipe dream
Wilful offender of a bright future
Subrosa Subrosa Get yah
Subrosa Subrosa Get yah Subrosa
Subrosa Subrosa Get yah
Subrosa Subrosa Get yah Subrosa
Notes:
¹ Considering that the 2024 Budokan concert is named “ナイショの薔薇の下 (naisho no bara no shita)”, I decided to use sub-rosa (similar definition to “secret” in English) here, a sort of play on the words tying in with the literal New Latin meaning of “under the rose”.
Just as an additional note, the rose itself has often been associated with secrecy. E.g. Cupid gave a rose to Harpocrates, the god of silence to keep him from telling about the indiscretions of Venus. Ceilings of dining rooms have been decorated with carvings of roses, reportedly to remind guests that what was said at the table should be kept confidential. Roses have also been placed over confessionals as a symbol of the confidentiality of confession.
I gave up trying to make sense of everything else.
Huuu All night long
Huuu All night long
Huuu All night long
Huuu All night long
English
By: Yoshiyuki
Sleepwalker cat Connected to parallel worlds
Sleepwalker cat An incorporeal¹ affirmation Could we meet?
Dreams inflating As decided by the heavens
Huuu All night long
Huuu All night long
Huuu All night long
Huuu All night long
Sleepwalk Shall we take a stroll in the night?
Sleepwalk Let’s go walk together tonight again
Let’s go play in our dreams A way of being
Huuu All night long
Huuu All night long
Huuu All night long
Huuu All night long
Sleepwalker cat Connected to parallel worlds
Sleepwalker cat An incorporeal¹ affirmation Could we meet?
Dreams inflating As decided by the heavens
Huuu All night long
Huuu All night long
Huuu All night long
Huuu All night long
Notes:
¹ The direct translation of the phrase 反物質 (hanbusshitsu) is “antimatter” but I didn’t think this scientific term quite fits here. Splitting 反物質 into “反 – 物質” instead leads to another rather literal meaning i.e. 反 = opposite, and 物質 = material/of substance. In other words, “the opposite of material”, in which case “material” is an adjective which describes a thing as a physical object rather than of the mind or spirit.
Seeing the four separate phrases (夢遊猫 反物質 確認 会えるかな) put together in one line immediately gave me the impression that here, we’re asking if we can meet this sleepwalking cat to prove the existence of non-material existences.
Oretachi wa hitori janai
Hagurete mo mayotte ite mo
Oretachi wa hitori janai
Kaze no naka itsuka aun da
Yami ni ukande moeteru
Atatakasa ga sou hoshikatta
Yami ni ukande moeteru
Ano taiyou ga sou hoshikatta
Wasureru na Tadori tsukeru hazu
Hyakuman nayuta no chiriakuta
Hyakuman nayuta no yume inochi
Hyakuman nayuta no chiriakuta
Hyakuman nayuta no yume inochi
Oretachi wa hitori janai
Hagurete mo mayotte ite mo
Oretachi wa hitori janai
Kaze no naka itsuka aun da
Wasureru na Tadori tsukeru hazu
Hyakuman nayuta no chiriakuta
Hyakuman nayuta no yume inochi
Hyakuman nayuta no chiriakuta
Hyakuman nayuta no yume inochi
English
By: Yoshiyuki
We are not alone
Even when lost or separated
We are not alone
We’ll meet again in the wind someday
Floating and burning in the dark
Warmth was exactly what you wanted
Floating and burning in the dark
That sun was exactly what you wanted
Don’t forget We’re gonna get there
A million innumerable floating dust specks
A million innumerable lives and dreams
A million innumerable floating dust specks
A million innumerable lives and dreams
We are not alone
Even when lost or separated
We are not alone
We’ll meet again in the wind someday
Don’t forget We’re gonna get there
A million innumerable floating dust specks
A million innumerable lives and dreams
A million innumerable floating dust specks
A million innumerable lives and dreams
BUCK-TICK Interview
“Feels like we’re a new band”
From that day till now, and continuing into the future with their latest release and tour
Pia
03 December 2024
Text: Kawamura Amiri
BUCK-TICK announced a new chapter during BUCK-TICK Genshou -2023- (バクチク現象-2023-), their 29 December 2023 performance at the NIppon Budokan. Earlier that same year, their overwhelmingly charismatic frontman Sakurai Atsushi passed away on 19 October. On that date, they who have been active at the frontlines of the Japanese rock scene without any change in line-up ever since this group of schoolmates formed the band in 1985 and made their debut in 1987, promised to rise again from the abyss of this great sorrow. Everyone who was shrouded in darkness found light in them, watching over BUCK-TICK’s new choices as they paraded on the road of transformation.
With a four-man outfit made up of Imai Hisahshi (vocals/guitar), Hoshino Hidehiko (vocals/guitar), Higuchi Yutaka (bass), and Yagami Toll (drums), BUCK-TICK released their latest single, Raijin Fuujin – Resonance (Thunder God, Wind God – Resonance / 雷神 風神 – レゾナンス) on 20 November, and their latest album スブロサ SUBROSA on 4 December. In addition, they have a very aggressive schedule lined up; going on a fanclub-exclusive tour in December 2024, performing their annual show at Nippon Budokan called Naisho no Bara no Shita (Under the Secret Rose / ナイショの薔薇の下) on 29 December, and then embarking on a nation-wide live house tour, BUCK-TICK TOUR 2025 スブロサ SUBROSA which starts April 2025, among other activities.
What does this second era of BUCK-TICK foresee in their future?
【Part 1】
Here, the members of the band share their own thoughts and feelings about the new songs, and about the continuance of the band after having gone from five members to four.
【Part 2】
Next, the members of the band talk about the important milestones of last year end’s Nippon Budokan show BUCK-TICK Genshou, doing this year’s version of that show and going on tour with the new formation, and their new album.
【Part 1】
――The new works are complete. The new BUCK-TICK has started. What kind of emotional journey did you experience last year when Sakurai-san passed on and you made the decision to continue the band as the four of you?
Imai (I): Acchan (Sakurai) passed away and two, three days later, I thought, “I have to have a band.” Then, I gave it some thought and concluded, “So let the four of us be it.” At that point, I haven’t yet spoken to the other members, but I figured that the only way [forward] was for us to do it. But there’s no point in forcing ourselves to do this if we can’t enjoy it, and I thought, the other members probably have their own thoughts about this, so we came together to discuss and conceptualise. It also felt like we’re starting a new band.
Hoshino (H): After Sakurai-san’s funeral, we all gathered and when we asked, “What’s going to happen with BUCK-TICK?”, the conclusion we came to was, “We continue.” We also talked about what form this will take, and after that, we proceeded to compose. Except, at the time, I still felt like I was in a daze. It only really hit me that it’s the four of us doing this after we started writing music and recording. I think my feelings evolved with each stage we passed.
Yuta (Y): I first thought it would be better that the band continued. Because we’ve received support of many people for more than 30 years. Our fans have grown up and aged together with us and having gone through so many different experiences together, we’ve had a lot of great times. As a person, I don’t think it’s right to just tell these people who have supported us all this time that it’s the end without even a performance. I don’t feel like I can call it quits on my own. If we can continue, we can give back to those who supported us, and the four of us are brothers in arms after all, so to me, I think this was the best decision of all.
Toll (T): When I received the news about Sakurai’s passing, I honestly thought that was the end. The other members of the band have been friends since high school and one of their juniors had been working for us throughout all this time as our roadie but the first thing I did was tell him something like, “This is the end.” But, just like what Hoshino said, when we got together to eat after the funeral, we concluded that we’ll continue. And since we decided to do so, Imai and Hoshino made preparations to start composing music. We had no idea what things would be like, but as a result of us four deciding to keep going, we made new music.
――Considering that Yagami-san already thought that things had come to an end, were you not uneasy about continuing?
T: Even now I’m nothing but uneasy. Now that we’re four, there’s only live performances left up ahead so you really have to wonder what kind of reaction our fans will have. Videos of Sakurai were put up at last year end’s Nippon Budokan show but there won’t be anything like that from now on. That’s why I’m wondering how we’re supposed to get people to come see this four of us. We’re still in pre-rehearsals for the shows. Whether or not the two of them will be able to make it as vocalists, well, this is going to be their first time, isn’t it? Performing as lead vocalists.
――Did the decision to have Imai-san and Hoshino-san take on the roles of vocalists come out of a discussion among the four of you?
I: Nope, there was no discussion. It’s more like there was no other option.
H: For me, I’ve been singing on the demo tapes all this time. So I felt that moving on to perform vocals was a natural progression.
――So now that the two of you are both vocalists-cum-guitarists, have you uncovered difficulties or discovered anything new in terms of singing the songs you’ve written yourselves?
H: I definitely tried to make sure that it’s easy for me to sing. We had Sakurai-san until now so I was composing according to his key. From this [album] on, that’s one area I had to think differently about when I composed.
I: Similarly, I started to think about how easy it would be to sing it. Later on, the both of us have to record vocals, so there are now more songs that focus on rhythm rather than melody.
――Thus far, we’ve heard songs from BUCK-TICK where Imai-san’s voice comes across as a sharp, edgy tone. But as a vocalist of the new BUCK-TICK, we’ll be seeing a new side from you unlike in the band Lucy, where you also performed as a vocalist and a guitar, right?
I: Yes. At least, I hope.
――When you decided to sing as frontman, what did you mentally prepare for?
I: Uh, to sing with energy (lol).
――I see (lol)! Did you consider the possibility of AI or bringing in a new member in the beginning, when you found yourselves without a vocalist?
I: Bringing in a new band member or a guest vocalist, it’s not very realistic, or rather, just not a very intriguing idea. I felt that it’d be easier to continue as a band if it was just us four. With regards to AI, we did a bit of testing but it was nothing like what we thought it would be. Not convenient in any way, so.
――Did Hoshino-san venture there again after being put in charge of singing?
H: I went for a bit of vocal training, things like that. For the purpose of getting comfortable with my singing voice since it’s a completely different thing than what we use for speaking like this.
――Yuta-san, Yagami-san. How did you feel after hearing their singing?
Y: Hide (Hoshino) said it earlier; he sings on the demo tapes, so we’re actually quite used to hearing him sing. Imai-kun always sang on the unconventional songs, but this time, there’s a variety of melodies so I think both of them actually made it work pretty well.
T: It’ll be Hoshino’s first time on lead vocals, but we all have always heard [his voice]. For Imai, he’s always been on the higher pitch but it’s a first for him to do a ballad like the one in our new album so I couldn’t quite wrap my head around what it would be like but…… immediately I thought, “Imai’s ballad is pretty good!” (Lol) I hope that our fans will come to get used to hearing Imai and Hoshino’s singing.
――Imai-san’s expressive vocals have their own surprising elements which gets listeners excited, and Hoshino-san’s voice sounds fresh and full of tenderness. By the way, Imai-san’s got a lot of moves and actions when you’re on stage, so do you think your performance will be affected by the fact that you need to sing too?
I: Definitely in terms of how we’re presented on stage. I have a guitar, a keyboard, a mic too. If I’m going to do the same things that I’ve always done so far I wouldn’t be able to move from that spot, though. I think I’ll be mulling that over as we go.
――Last year, at your Nippon Budokan show, Imai-san said, “Next year, BUCK-TICK will write new songs, and make an album.” Just like he said, your new work is complete and Raijin Fuujin – Resonance was chosen to be the album’s lead single. It leaves the impression of everything brightening up all at once and the contrast of both your voices in the duet is enjoyable too but is there a reason why this song was selected for the single?
I: Because it’s definitely got this feeling of things opening up and for this duet, I start first, followed by Hide, so I thought it felt neat. It’s also easy to understand [from the song] that this is the new BUCK-TICK.
――The B-side is a remix of the same song by DTM (desktop music/synth-pop) duo Pasocom Music Club but what I want to ask is, why them?
I: Because I thought it’d be interesting to ask the younger generation. At first, we had quite a few candidates in mind, but when we actually got around to listening, we liked their remix so we chose them. There’s a kind of freedom? Or something like that which influences them. Although they’re young, there’s a part of them that feels like there’s nothing they can’t do, and that’s a good thing.
――The music video has also been released. How did it feel filming with just the four of you?
Y:The four of us got into it without really having decided on anything so we were having discussions with the director during the shoot. We haven’t yet shot the music videos for the other songs so this is the only song we’ve done so far, but going forward, I believe we’re going to have to think about things like our positions, where we stand, and all that.
【Part 2】
――Your latest album, スブロサ SUBROSA, a product of this new formation, is a voluminous release with a total of 17 tracks. I could feel each member’s honest emotions from last year until now, and your feelings towards Sakurai-san and all your fans captured in the album’s music and lyrics. And although this is something the four of you created, I could really sense how it had always been five people in BUCK-TICK. Regarding the number of tracks, didn’t you actually want to have more?
I: In the end, this was all of it.
Y: Huh? Didn’t we initially say we’d have more?
I: Hahaha. Well, we were also coming up with [new] music here and there but. We also talked about wanting to do a 2-CD release, see. In the end, we gathered 17 songs.
――The fact that there are three instrumental tracks by Imai-san is also something that has never happened before, right?
I: I did want to make instrumental tracks too. Given that we have this number of songs, I felt that it would be easier listening in terms of flow if we included instrumental tracks, and since our frontman and vocalist Sakurai isn’t here anymore, it actually means that we can do instrumental tracks, I think. I’d think that they’re also intriguing in their own ways.
――I suppose it’s in part thinking outside the box. The 4th track, From Now On, which Hoshino-san composed lyrics for initially sounded like it would be an instrumental track until Hoshino-san’s voice came in.
H: Half of it was composed with the intention of making it an instrumental.
――Oh, I see! The very first track, Hyakuman Nayuta no Chiri SCUM started with the line “We are not alone (俺たちは独りじゃない / Ore tachi wa hitori janai)” which is followed by song structures and a wide variety of sounds that we haven’t really heard before,until the last thrilling track, Tasogare no Howling. I think this will be new for all those who have been listening to your music throughout all this time, and also, there would likely be more people who decide to try and listen to BUCK-TICK because this second era sounds interesting. If you were to pick one song to recommend to these people, which would it be?
I: The second track, スブロサ SUBROSA. It’s also the album title, and a song that doesn’t have any guitars at all.
H: I’d like to recommend all of the songs but…… maybe the 12th track which I wrote myself, Zetsubou to Iu Na no Kimi e.
――Is the song where Hoshino-san composed the melody, and Imai-san, the lyrics, right? That’s another combination that has never happened before.
H: That’s right. I picked this song because it’s melodious so it’ll probably be easy to listen to.
Y: Me, I’d pick the 3rd track, Muyuubyo SLEEP WALK. It’s a song that doesn’t feel like anything we’ve done as BUCK-TICK before, so I think it’ll probably bring a new feel to even those who have always listened to our music. This album, on the whole, has a lot of parts that will leave deep impressions on you.
T: Personally, I would choose the 8th track, Meiousei de Shi ne. This song has an afrobeat and it’s been a while since I had to do that so it was super tiring (dry laugh). But I’ve gotten quite used to it recently, so I got my groove back. It requires the use of timbales (a [percussion instrument typically used in Latin music) and it’s a song that shares a similar drum pattern with HURRY UP MODE so I had to put my back into it for the first time in a while.
――After the release of your new works, the live shows continue but it’s after all been a year since the turning point that was last year end’s Nippon Budokan show, so I believe that this year’s Nippon Budokan performance will be the one that will really showcase BUCK-TICK’s evolution. Looking back, how did you feel standing on stage last year? And what will you have in mind when you go on stage this year?
I: I think last year’s show was one that we absolutely had to do, so it’s good that we made it happen, right? Videos of Sakurai and his voice were being played as the four of us stood on stage, but it sank in that “This is how it’s going to be”. As to how it’ll look in this year’s shows with the “new four-man BUCK-TICK”, I want to enjoy the process of figuring that out while experimenting.
H: Last year, we also discussed whether or not we should hold the performance, but ultimately, we decided to do it. Then, we spoke about how we’re going to do this going forward but we went ahead with the show amidst all the anxiety that we, the band members, our staff and even the audience who attended it were feeling. Those were the circumstances we had to work with but because we did that show, I guess you could say that everyone’s feelings changed. It was a good thing that we did it. I think whether we went through this experience or not would really affect how we would all feel going forward. This year, we have a new formation, and while we’re definitely going to perform our new songs, I want things to turn out well so from here on out, it’s practice.
Y: I don’t remember anything, not even how I felt performing last year. But I definitely wanted to convey my feelings to the people who kept supporting us. If we were to, let’s say, write it out in text and publish it like a report, it feels a little too lacking, like, I think I should speak my feelings in person so it was good that we did the show. We’re here now because of that performance. Just like how it took decades for our five-man formation to get to where we were, if going forward we can experiment our way through doing things in a four-man group the way the did when the band was first formed, I think we’ll definitely be able to make something great, so I want to put my best into this.
T: It’s almost a year since our Nippon Budokan show last year and now that I think about it, that show was really as good as the last performance of “the first era of BUCK-TICK”. From here on, we’re starting out as “the second era of BUCK-TICK” and with us four, we’re starting off with “スブロサ SUBROSA”. That’s what I’m feeling. Well, it’s another band, isn’t it? So next, we’ll just have to win everyone’s approval. I guess you could say it feels like I’m a newbie again. Excited yet anxious, but I’m filled with motivation to drum as a part of the new BUCK-TICK from this year end on.
――And finally, I’d like to once again ask everyone: What is “BUCK-TICK” to you?
I: For me, ever since I was in school, I’ve always wanted to form a rock band and make it my career. I just wanted my life to revolve around being in a band, without having to do part-time jobs and whatnot. Since then, all kinds of things started happening, I got to meet people, and here we are now. So BUCK-TICK is something that I want to do from now until forever.
H: Tough question, but I suppose, it’s a part of my life? Something that naturally exists without question.
Y: It’s really been a long time since we started the band, hasn’t it? Not just the members, but even our staff, our fans, everyone is part of BUCK-TICK to me. Our staff have always given their all in the work they do for us, and there are also those who have been supporting us for a long time. So maybe that’s why I’ve come to feel that “everyone is BUCK-TICK”. And since I feel that we’re such a band, this is all very precious [to me].
T: Yuta said it, but even our PA has been working with us ever since we debuted. And there are also three other roadies who were juniors in Fujioka High School that have been with us ever since we performed at Shinjuku JAM during our indies era. Our staff have really stuck with us for a seriously long time. Among them are newbies who have steadily joined us, but we want to help them keep going for as long as we can and that’s the kind of band we are. That’s why we even have [staff] like our stage director or manager who had been with us from the very beginning since we debuted who already passed on. Which is why it really feels like that, “Team BUCK-TICK”. Every time we go on tour, there would be staff afterparties once in ten times. And during those events, what I always say to the staff who join us is, “I may be a part of BUCK-TICK, but see, you are also a part of BUCK-TICK.” The ones who get up on stage are the band members, but the ones who build the world of BUCK-TICK there and then are our staff and lighting of course. It’s a composite art on the whole. That’s why, I’ve been doing this with the thought of “Team BUCK-TICK”. I think BUCK-TICK will probably continue to exist until our members have truly come down to zero.
――At last year’s Nippon Budokan show, Imai-san said during his MC that [the band] will continue even if the number of band members drops to three, and two. Then, he also said, “I guess I’ll probably be the last one standing.”
T: Well, we definitely see such cases overseas. Like in my favourite band Sweet, the guitarist is the only original band member left. All the other parts have changed. But the band Sweet has always existed. There’s also this other band called Slade where only only two members are left. They bring in new band members for their activities. So don’t you think it’d be interesting if BUCK-TICK moves into that sort of a situation? BUCK-TICK is probably going to be a band that doesn’t break up. Although I can’t say for sure that there won’t be an end. Even if Imai is the only one left, he could just bring in a drummer or something and keep the trade name or something.
Y: That just goes to show that Imai-kun will be the sole survivor! (Lol)
I: (Dry laugh)
――I’ll continue to observe and watch BUCK-TICK evolve and find success. Lastly, please share a few words people who will be listening to your new album, スブロサ SUBROSA.
I: Look forward to it. It’s unlike anything we’ve done before, so it’ll probably be interesting.
H: We built this up from a “state of nothingness” so even we had no idea what would come of it until it was complete. There are probably fans out there with all sorts of opinions and feelings but this is an album “brought to you by the four of us”. We enjoyed the process of putting it together, so I hope that you will enjoy listening to it too.
Y: This is a really wonderful album that was born out of experimentation so I hope that everyone will give it a listen. It’s always been like this even when we were five, but I think that producing an album and going on tour like this is how we’ve always been searching for what we’ll be moving on to next. So, this time too, we made an album, we’ll be going on tour, and meeting all kinds of people who will come and see us. I have hope that we can take another step forward and keep going.
T: I really hope that you’ll giev the album a listen. Also, we’re doing something new as a group of four, and I’m feeling like a newbie at age 62, so I promise to do my best! (Lol)
＜Release information＞
New Single Thunder God, Wind God – Resonance [雷神 風神 – レゾナンス / Raijin Fuujin – Resonance]
Limited Edition A (SHM-CD + Blu-ray): 6,050 yen (w/tax)
Limited Edition B (SHM-CD + DVD): 5,500 yen (w/tax)
Regular Edition (SHM-CD): 3,300 yen (w/tax)
Limited Edition Cassette Tape (Double cassette tape): 4,400 yen (w/tax)
Limited Edition Vinyl (3LP): 12,100 yen (w/tax)
【VICTOR ONLINE STORE Exclusive Limited Made-to-Order Set】
Limited Edition A + Original T-shirt: 9,900 yen (w/tax)
Limited Edition B + Original T-shirt: 9,350 yen (w/tax)
Regular Edition + Original T-shirt: 7,150 yen (w/tax)
※Limited made-to-order quantity sold at the VICTOR ONLINE STORE.
※The original t-shirt comes with the CDs (limited edition A/B and regular edition).
※An exclusive special show will be held in Tokyo on 23 March 2025. Attendees will be drawn from those who purchased both the single (Raijin Fuujin – Resonance) and the album (スブロサ SUBROSA).
『Exclusive Special Show』 Sunday, 23 March 2025
Somewhere in Tokyo
Doors open/Performance starts: TBA
【Included songs】
百万那由多ノ塵SCUM (Hyakuman Nayuta no Chiri SCUM / A Million Innumerable Dust SCUM)
スブロサ SUBROSA
夢遊猫 SLEEP WALK (Muyuubyou SLEEP WALK / Sleepwalker Cat SLEEP WALK)
From Now On
Rezisto
神経質な階段 (Shikeishitsu na Kaidan / Neurotistic Stairway)
Fanclub member-exclusive live 『FISH TANKer’s ONLY 2024』
December 6 (Fri) Aichi・Diamond Hall
December 7 (Sat) Osaka・BIGCAT
December 14 (Sat) Gunma・Takasaki City Theatre, Studio Theatre
December 15 (Sun) Toyko・Toyosu PIT
April 12 (Sat) Miyagi・Sendai GIGS
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)／2F Seated: 11,000 yen (w/tax)
※Drinks not included
April 13 (Sun) Niigata・Niigata LOTS
Doors open at 17:00 / Performance starts at 18:00
Standing only: 9,900 yen (w/tax)
※Drinks not included
April 19 (Sat) Osaka・Zepp Osaka Bayside
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)／2F Seated: 11,000 yen (w/tax)
※Drinks not included
April 20 (Sun) Aichi・Zepp Nagoya
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)／2F Seated: 11,000 yen (w/tax)
※Drinks not included
April 26 (Sat) Hiroshima・Hiroshima CLUB QUATTRO
Doors open at 17:00 / Performance starts at 18:00
Standing only: 9,900 yen (w/tax)
※Drinks not included
April 27 (Sun) Fukuoka・Zepp Fukuoka
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)／2F Seated: 11,000 yen (w/tax)
※Drinks not included
April 29 (Tue･Holiday) Kagawa・Takamatsu festhalle
Doors open at 17:00 / Performance starts at 18:00
Standing only: 9,900 yen (w/tax)
※Drinks not included
May 11 (Sun) Hokkaido・Zepp Sapporo
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)／2F Seated: 11,000 yen (w/tax)
※Drinks not included
May 16 (Fri) Tokyo・Zepp Haneda(TOKYO）
Doors open at 18:00 / Performance starts at 19:00
1F standing・2F rear standing: 9,900 yen (w/tax)／2F Seated: 11,000 yen (w/tax)
※Drinks not included
May 17 (Sat) Tokyo・Zepp Haneda(TOKYO）
Doors open at 17:00 / Performance starts at 18:00
1F standing・2F rear standing: 9,900 yen (w/tax)／2F Seated: 11,000 yen (w/tax)
※Drinks not included
May 24 (Sat) Tokyo・Toyosu PIT
Doors open at 17:00 / Performance starts at 18:00
Standing only: 9,900 yen (w/tax)
※Drinks not included
May 25 (Sun) Tokyo・Toyosu PIT
Doors open at 17:00 / Performance starts at 18:00
Standing only: 9,900 yen (w/tax)
※Drinks not included
tribute to DER ZIBET/ISSAY
Tracing the footsteps of the King of Decadence
ROCK AND READ 106
June 2024
Photos provided by by M.Saito
DER ZIBET arrived in the music scene before the term “Visual-Kei” was even coined. Coinciding with the release of the tribute album, ISSAY gave life to FLOWERS – a tribute to Der Zibet – on the birthday of ISSAY who passed away last year, this feature will shed light on what kind of band this is and the person ISSAY was through a retelling of the history of DER ZIBET, the latest interview with HIKARU, and the interview with ISSAY about his personal history from a late-2005 issue of this magazine.
Text by Yamamoto Hiroka
Photos provided by by M.Saito
DER ZIBET was formed exactly 40 years ago. Dubbed “the pioneer of decadence”, “musicians for musicians”, I hope you can get a sense of how great a band they are through this look into their history.
In an era where the mixing of genres had yet to exist
DER ZIBET’s music was unconventional from the very beginning
DER ZIBET formed 40 years ago, in 1984. The band consisted of five members; ISSAY (vocals) who had his own solo projects running and had been casted in the first commercial film that Macoto Tezka directed, TheLegend of the Stardust Brothers, HIKARU (guitar) who had already made his debut in 1982 with the band Be-Bops, HAL (bass) who was involved in ISSAY’s solo work alongside Morioka Ken (SOFT BALLET), MAYUMI (drums) who was once invited to join Seikima-II, and MAHITO (keyboard). In an era where the concept of “Visual-Kei” had even come about, let alone the term, just ISSAY’s presence in the music scene was impressive. His performances which incorporated all that he learnt since his youth under the tutelage of pantomimist Mochidzuki Akira were unlike any other, and he made his debut as an actor even before DER ZIBET.
Although a member when the band came together, MAHITO left and DER ZIBET debuted with their single, Matsu Uta in 1985. In the same year, they released their first album, Violetter Ball -Murasakiiro no Budoukai- which was produced by Haruo Chikada. Even though their vocal and performance abilities were still developing, DER ZIBET’s music had always been unconventional from the very beginning with how they channelled into rock elements of other genres like punk, progressive rock, glam, new wave, jazz, funk, tango, and many more. Of course, this was an era where the mixing of genres had yet to exist too.
At the time, ISSAY would erect a streetlight on stage and sing while smoking Gitanes. He was an individualistic vocalist who gave the impression that this band might turn out feeling more like a solo project, but the instrumentalists HIKARU, HAL, and MAYUMI weren’t sequacious, which was a good thing. On the topic of their superior and intelligent music sense, I will never forget how a magazine back then asked, “What other influences do you have outside of music?”, to which everyone responded with answers like literature and film, theatre, pantomime and the like. ISSAY’s literature-refined lyrics revolved around a 16th-note beat and incorporated odd time signatures; techniques which made such complex music sound like pop music were already used since those days.
With a treasure trove of free ideas in both their music and their performances,
they were later known as “musicians for musicians”.
In 1987, they released their second album, Electric Moon. The shows they played were centred around a main “Radical Dance” concept and an underlying “mystery park” theme. On their third tour, they left quite the impression with a performance that featured toilet paper draping down from the ceiling. It was only later on that they got known as “the musicians’ musician”, but it’s impossible to talk about the basis of it without talking about the early days of their career which were a treasure trove of free ideas in both their music and their performances. Incidentally, prior to BUCK-TICK’s debut, Sakurai Atsushi loved listening to DER ZIBET and went to watch them perform; this was how they first got acquainted.
Then, the first turning point for the band came in the form of Okano HAJIME and Kisaki Kenji coming together to produce their third album, DER ZIBET which was released in 1988. ISSAY took on a wilder appearance dressed entirely in leather as they played powerful pop music with a flavour of popular Japanese music at the time. Their national tour for this album, “WHOLE LOTTA LIVE! ～Mune ippai no ai wo～ (胸いっぱいの愛を / with a heartful of love)” culminated in a final performance that was also their first show at Shibuya Public Hall.
Just as it began to look like they were heading in a direction along the lines of Japan’s beat rock scene, they flew straight to London soon after the tour ended and stayed there for about a month to work on their new album at the Maison Rouge Studio, where famous rock classics were born. The sound engineer they worked with was Craig Leon who would later go on to work with Jesus Jones. The result was GARDEN, a gothic 4th album which encapsulated London’s atmosphere and even its typically grey skies. At the time, ISSAY held Sisters of Mercy and The Mission in high regard and after returning to Japan, he spoke about how he could sense how different the history of rock is there through their recording methods, saying, “I realised how great they were.” It even happened that Hanada Hiroyuki from The Roosters swung by the studio for a visit and ended up participating as a guest guitarist.
Although they never made it big, DER ZIBET’s shows always drew a large audience. I don’t know how ISSAY felt about being given titles like “the pioneer of decadence” and “a rock band ahead of its time”, but their 5th album, CARNIVAL, which HIKARU produced himself involved keyboardists HOPPY Kamiyama and DIE (＝D.I.E.) who later became a support musician for ZI:KILL and then a member of hide with Spread Beaver. Their sixth single, Mammoth no Yoru, which turned into one of their most popular songs to perform live, was a splendid combination of MAYUMI’s rapid-fire tom drum playing and HAL’s bass lines reminiscent of the primitive age. There was even a period of time when ISSAY’s lyrics got cyber-inspired; in an era before PCs were commonplace, he described non-conformists as “bugs created by god” or a “beloved programming mistake”.
After this, DER ZIBET produced album after album of masterpieces.
The album HOMO DEMENS, which was heavily inspired by free jazz saxophonist John Zorn’s music, included a cover of a song by The Doors. HIKARU’s compelling guitars which grew in depth and ISSAY’s alluring yet cutting expression left quite the impression. It even featured a miraculous coincidence of John Zorn happening to be in Japan by chance and actually appearing on the album as a guest with his saxophone.
Then, in 1991, they released Shishunki Ⅰ – Upper Side – and Shishunki Ⅱ – Downer Side – which could be said to be their greatest work pre-hiatus alongside HOMO DEMENS. The long interview where ISSAY had to face his own loneliness and pain as he spoke candidly about his youth could be said to be what led to these albums. At the time, ISSAY said that the original essence of rock music was similar to the feeling of adolescence. He said, “While it has a very aggressive, sizzling rock and roll image, doesn’t it also have a very abstract, emotional side to it at the same time? Our band has always played with these two sides, but we felt it would be a good idea to shape them properly this time.” Incidentally, Shishunki Ⅱ also houses a legendary songs among BUCK-TICK fans, namely ISSAY and Sakurai Atsushi’s duet, Masquerade and 4D Vision no Rasen Kaidan which featured Imai Hisashi. Sakurai Atsushi even appeared as a surprise guest at Kudan Kaikan for the final show of the tour.
During the time when DER ZIBET had fewer live shows, ISSAY and TATSUYA formed the programming music unit HAMLET MACHINE. HIKARU also busied himself with Pugs, a band he formed with ex-PINK members Okano HAJIME and HOPPY Kamiyama. Meanwhile, in 1993, DER ZIBET released the album TRASH LAND which told of the “collapse of a fictional city”, a story that would not be out of place looking at today’s cities lined with high-rise apartment buildings. The following year they released the album POP MANIA, again with Okano HAJIME as producer.
Then, in the same year, ISSAY announced his own solo album entitled FLOWERS which was a collection of hit songs from the Showa era . hide, BUCK-TICK’s Sakurai Atsushi and Hoshino Hidehiko, LUNA SEA’s SUGIZO, Kiyoharu, THE MAD CAPSULE MARKETS’ MOTOKATSU, DIE IN CRIES’ TAKASHI and many more big-name musicians were involved in this album, making it a work worthy of the name “King of Decadence”. In this same period, Pugs embarked on their debut tour in the USA.
Despite DER ZIBET releasing Green in 1995 and KIRIGIRISU in 1996, they announced that they would be going on an indefinite hiatus that same year. Regarding activities prior to the band’s break, HIKARU reminisced, “Instead of Japanese bands, we only ever thought about competing with foreign bands.”
The interview with ISSAY which is being republished again in this issue is from the time when he was busy as a member of ΦPhI, a band he formed with 44MAGNUM’s Hirose Satoshi, HAL and Satou Minoru, as a part of ISSAY meets DOLLY, the unit he formed with Fukuhara Mari, a member of Lynx, a band he formed with X JAPAN’s HEATH, SAY→ICHIRO, and Matarow, and as a part of HAMLET MACHINE. HIKARU is now busy with the two bands he formed, Loco-Apes and onseiriki, although the frontmen of both bands have never met.
After this period, DER ZIBET made a miraculous comeback in 2009 with the original five-member line-up but that will be covered in the interview with HIKARU which comes after this. I won’t go into too much detail here, but their creative drive did not wane in the slightest. They went on to release the conceptual two-part album ROMANOID Ⅰ and ROMANOID Ⅱ. Looking at ISSAY’s image and the artwork featured, they then continued to release albums that exuded depth and sex appeal akin to that of aged wine.
Following DER ZIBET’s reunion, in 2013, ISSAY formed KA.F.KA with Tsuchiya Masami, Morioka Ken, Ueno Kouji, and MOTOKATSU. He also took on acting roles, appearing in films like director Macoto Tezka’s The Brand New Legend of the Stardust Brothers and Tezuka’s Barbara. But he passed away suddenly in August 2023 just before the 40th anniversary of DER ZIBET’s debut. HIKARU said, “Before our hiatus, I was making music I wanted to make, but after our reunion, I made music with ISSAY’s lyrics in mind. I was often surprised by what I came up with. It really was a lot of fun.” While writing this article, my heart felt unbearably heavy as I was reminded that Morioka Ken, Sakurai Atsushi, and HEATH had also left us.
The tribute album, ISSAY gave life to FLOWERS – a tribute to Der Zibet – is slated for release on July 6th, ISSAY’s birthday. I sincerely hope that DER ZIBET, a band so completely devoted to music, will continue to have an audience for generations to come.
ISSAY gave life to FLOWERS – a tribute to Der Zibet –
Releasing 6 July 2024／2-CD・18 tracks
Participating musicians
Tsuchiya Masami, MORRIE, Kobayashi Yuusuke (The Novembers／THE SPELLBOUND), Diamond☆Yukai & Kogure “shake” Takehiko (Diamond Shake／RED WARRIORS), Matsuoka Mitsuru (SOPHIA). NARASAKI (Coaltar Of The Deepers), Morishige Juichi (ZIGGY), PATA (X JAPAN／Ra:IN), kyo (D’ERLANGER), Chu-ya (Allergy／De-LAX／LOOPUS／FAR EAST PHALLUS KICKER), SUGIZO (LUNA SEA／X JAPAN／THE LAST ROCKSTARS／SHAG), SAKURA (gibkiy gibkiy gibkiy／Rayflower／ZIGZO), Okano HAJIME, BAKI, “CRAZY” COOL-JOE & Minato Masafumi (Drunkard Ball), Sakurai Ao & Ishii Shuji (cali≠gari), Kamiryo Wataru (NeoBallad), Kaya, tezya (tezya & the sightz／Euphoria), michi. (MASCHERA／S.Q.F／ALICE IN MENSWEAR), Kimura Seizi (ZEPPET STORE), Chiwaki Mayumi, Shimoyama Jun (Rock’n Roll Gypsies／ex. THE ROOSTERZ), Ken-ichi (Valentine D.C.／VERTUEUX), JUN (Valentine D.C.), Honda Takeshi (PERSONZ／Effectric Gurtar), DIE (Ra:IN／hide with Spread Beaver), Dantoudai no MELODY, Hashizume Akito (the superlative degree／HUSH), RIKIJI (Oblivion Dust／IMOCD!), Hoppy Kamiyama (God Mountain), AUTO MOD clas-six, etc. (in no particular order)
HIKARU formed DER ZIBET alongside ISSAY in 1984 as the band’s guitarist and main composer. In this interview, the big brother of DER ZIBET, HIKARU continues the story from where ISSAY left off in the interview that we published in this magazine back in December 2005.
profile
Autonym: Yoshida Hikaru. While he has played a part in many artists’ and bands’ recording work as a guitarist, he is also a music producer. He formed DER ZIBET in 1984, went on an indefinite hiatus in 1996, and then officially restarted activities in 2009. Golden☆Best Sixty Years, DER ZIBET’s best-of compilation album of their work released under the Sixty Records label is slated for release on 19 June 2024.
derzibet.com
It wasn’t as if everyone suddenly said, “Let’s bring DZ back again!”
Things just naturally turned out this way.
――This issue includes the interview with ISSAY-san that came out in #005 which was published in December 2005. At the very end of that interview, ISSAY-san said, “I have no intention of doing DER ZIBET again right now.” At the same time, he also said, “We being humans, we never know what will happen when, so I want to do whatever I can.” Does HIKARU-san remember what you thought about DER ZIBET during that period?
HIKARU (H): Actually, in June of 2005, I met ISSAY for the first time in a long while at DER ZIBET’s manager’s wedding and there, he told me, “So, I got a Lynx live at Numazu this autumn, and it’s also DER ZIBET’s 20th anniversary so I’m thinking of playing DZ songs with Lynx. You wanna perform as a guest?”
――Even now I remember very well the “Lynx PLAY DER ZIBET” live performance at Numazu Noir which took place on 22 October 2005. It was such a profound feeling seeing ISSAY-san and HIKARU-san standing on the same stage together for the first time since the band went on hiatus in 1996. Of course, heath-san (HEATH) being there as Lynx’s bassist also added to it, but I thought that really was quite the show to remember.
H:It was. Well, at the time, it simply ended with thoughts along the lines of how it sure was fun to perform together with everyone. At that point in time, conversations about restarting things or anything like that didn’t come up.
――The next thing that happened was the live and releases in July 2008 that you did under the band name “reD biteZ”. Those activities were definitely linked to DER ZIBET’s revival, right?
H: The one who created that opportunity was HAL. HAL reached out to everyone and gathered us. That said, I, ISSAY, and MAHITO were there but at the time, MAYUMI, our drummer was undergoing medical treatment so Satou Minoru (ex. ΦPhI) came in.
――Doesn’t that mean that the rhythm part of the band was made up of the ex. PhI team?
H: Yes, yes. At first, the five of us gathered and started rehearsing. For HAL’s rehabilitation.
――The how and why of this had to do with HAL getting rather severely injured in an accident and making a miraculous recovery, right? It was then that he said, “I want to perform in a band again.”
H: That’s why the five of us gathered at a studio just about every month for rehearsals as a form of rehabilitation for him. In fact, I think we probably did that consistently for over a year. Then, while doing that, we started talking about doing a show and that was when Minoru said, “Please call MAYUMI.” And only then did the five members of DZ come back together.
――When DER ZIBET had its major debut, the band was made up of ISSAY-san, HIKARU-san, HAL-san, and MAYUMI-san. MAHITO-san was originally part of the band prior, so it’s pretty intriguing to see that the original members have only now come back together.
H: It wasn’t as if everyone suddenly said, “Let’s bring DZ back again!” Things just naturally turned out this way.
――Was that performance you did under the “reD biteZ” name back then more of a showcase ahead of the actual restart?
H: Honestly, at first, we were worried about how much HAL could take and whether he could handle it. So we [did that show] with the thought of testing the waters first.
――Despite all the twists and turns, in March 2009, DER ZIBET announced PRIMITIVE, the first album in 13 years since Kirigirisu and finally restarted activities officially. The most recent album release was 2018’s Fujouri (不条理), but following the reformation of the band, what was HIKARU-san focused on this time around?
H: Most of all I didn’t want to make music that sounded nostalgic. That’s the only thing that I often said to ISSAY too, and he also said that he wanted to keep doing novel, new things.
――We know that you generally would perform popular songs from your old catalogue in shows, but there’s definitely a strong impression that DER ZIBET evolves and matures every time you release new music.
H: I’m pretty sure that’s got to do with changing with the times.
Our relationship changed a lot compared to the way things were pre-hiatus
I felt more strongly that “we’re the ones running DZ” after our reunion than before.
――I think the members of the band spent about 10 years or so away from each other, so when you came back together to restart activities as DER ZIBET, was there anything that HIKARU-san felt you rediscovered or got reacquainted with? For example, with regards to ISSAY-san’s singing and his lyrics.
H: Here’s the thing; the way things were in 1996 when we released Kirigirisu was the same as when we made our major debut — I and ISSAY could not get along at all. To the extent that when we debuted, I was already thinking about whether I should quit after one year (lol).
――It was already that bad right from the very start? But when ISSAY-san and HIKARU-san appeared on a streaming program I hosted some years ago, ISSAY-san sounded like he was joking when he said, “It’s not that I couldn’t get along with HIKARU. We just weren’t on good terms (lol).”
H: During our major label days, it kind of felt like I was dragging myself through those ten-ish years in those circumstances. In the beginning, I was also the type to write lyrics so I would write a little bit here and there, but relatively early on, ISSAY told me, “Stop writing lyrics, won’t you?” I was pretty taken aback and I guess our relationship only worsened since then. But midway, I started doing production work for our albums so we started thinking about the lyrics and discussing together. That’s why although we weren’t at loggerheads all the time, our relationship changed quite a lot when we compare the way things were right before the hiatus and after our reunion. A big part of it was how great ISSAY’s singing had become when we reformed the band. That was a surprise.
――While DER ZIBET was on hiatus, ISSAY-san experienced quite the variety of live performances as ΦPhI, HAMLET MACHINE, ISSAY meets DOLLY, and Lynx. I would think that he honed his skills as a vocalist in this process.
H: Because ISSAY’s voice pre-hiatus was weak, wasn’t it? A lot of times I’d worry and wonder if it’d be okay, but when we started working together again, his voice had become really powerful. Even his lyrics now had depth so that was another area that I noticed had changed.
――I think it cannot be denied that different sides have grown more appealing as time passes.
H: Adding to that, when I look at our old song lyrics again but with this perspective now, I can see that these aren’t just any old lyrics after all. Maybe back then, he wasn’t great at how he expressed himself, or maybe he was just too direct or something. That’s also something that I only understood after we reunited because we started drinking together too (lol). We started drinking together and talking about all manners of things while drinking.
――That’s a really heartwarming story.
H: Even the album titles we came up with while drinking together. Those were really good times. I felt more strongly that “we’re the ones who are DZ” after our reunion than before.
――What was it like prior, then?
H: During our major label days, there was always this feeling that they were “letting us” be DZ. It wasn’t literal, as in someone letting us do our thing, but our schedule was decided before we knew anything, and it felt as if we were just there to clear whatever work they had put in front of us. On that note, we’re our own management office and label post-reunion which means that we ourselves make the decisions on what to do so the amount of things we experienced felt overwhelmingly intense.
――The music you made after the reunion was nothing other than outstanding too; PRIMITIVE exuded an emotional vibe befitting a new beginning, the conceptual series that was ROMANOID Ⅰ and ROMANOID Ⅱ, NINE STORIES which was announced right before your 30th anniversary, Bessekai (別世界) invited listeners to the other side, and Fujouri (不条理) in which the glamorous and dramatic essence of DER ZIBET was condensed.
H: Unfortunate that not a lot of people listened to them, right? (Lol)
――Presently, I believe all the music you released post-reunion has been made available on online streaming services so it would be great if everyone would give it a listen.
H: It would. I want the stuff we did pre-hiatus to be made available on streaming services too but the rights for those are complicated and all over the place so it’s a little difficult. But maybe people will be able to listen to those too in the near future. Also, we’re also releasing Sixty Years, a best-of album on the 19th of June which is a compilation of songs we released under the Sixty Record label.
――That’s great news. In the first place, as the musicians’ musician, DER ZIBET is a band that doesn’t only attract music fans but also has garnered respect from many artists. You’ve always been known as a band for connoisseurs so I’m very happy that even more people will get the opportunity to listen to you through streaming services. On that note, does HIKARU-san have anything to say about being labelled as the musicians’ musician?
H: I’ve actually heard all sorts of things about that before. But although I have a lot of friends who are musicians, I don’t have much recollection of being respected (lol).
――Including BUCK-TICK’s Sakurai (Atsushi), don’t you think that there are a lot of well-known people who look up to you?
H: Well, but I say that because I don’t have younger musicians coming up to me to tell me these things directly. In that sense, I think ISSAY probably had quite a large network though. For me, I just have a few musician friends here and there who I go drinking with.
I actually have the sound sources for seven unreleased DER ZIBET songs.
They’re demo vocals, but the lyrics are already in and the recording quality isn’t too bad.
――I wanted to talk about post-COVID DER ZIBET too. In recent years, HIKARU-san and ISSAY-san has had a number of opportunities to perform live under the name “from DER ZIBET”. Could you share a little about how this came about?
H: As in, why we had to do things as “from DER ZIBET”, right? A part of it is difficult to put into words, but our bassist and drummer couldn’t quite do it the way we did pre-hiatus, you see. Outside of album production, continuing to perform live as DER ZIBET was tough, it was difficult.
――What I’m sensing is a strong desire against going on another hiatus but instead to keep up with activities as “from DER ZIBET”.
――If so, what were HIKARU-san’s thoughts at the time on how the future DER ZIBET would carry out activities?
H: Ah, well, we were barely hanging on. Because it was a constant worry. Last year, we performed as DER ZIBET at only two shows; in April at Yokohama’s 7th Avenue and in July at Meguro LiveStation. But I actually still have the sound sources for seven unreleased DER ZIBET songs.
――As many as seven? When were they produced?
H: We probably started two years ago, working on them on a relatively on and off basis. But we actually progressed based on having spoken about intending to release them as an album this year. We were still planning to add more songs too.
――Do these seven songs have ISSAY-san’s singing recorded already?
H: Demo vocals, yes and the lyrics are already in. The recording quality isn’t too bad so I was thinking maybe it’s good enough to go.
――Since you have such precious unreleased songs, I do hope that they’ll be released to the world.
H: Even if I wanted to do that, there’s still a bunch of problems to overcome first though……
――In terms of timing, this October will mark the 40th anniversary of DER ZIBET’s start.
H: Furthermore, next year will be the 40th debut anniversary. I still don’t know whether we’ll be able to release the songs next year but we’re going ahead with that goal in mind. Also, my band Loco-Apes will be releasing our album Republic of Gbrica (ジブリカ共和国 / Jiburika Kyouwakoku) this 26th of September. And on release day, we’ll be playing at Shimokitazawa Que too. There’ll also be a DZ tribute and event going on too.
(Republic of Gbrica) 『ジブリ力共和国』 Loco-Apes
――That’s right. The tribute album, ISSAY gave life to FLOWERS – a tribute to Der Zibet – is going to be released on ISSAY’s birthday, the 6th of July and on the 4th of August, many of the artists who were involved in the tribute will be gathered at Shibuya duo MUSIC EXCHANGE where a live performance involving HIKARU-san staying on stage for just about the whole event will be held. When you came to learn that such a project was raised, how did HIKARU-san feel about it?
H: In terms of the tribute, it didn’t really click for me in the beginning. To me, I just felt that if people wanted to do it then by all means, just go ahead. But as more and more musicians joined and their numbers grew, I advised the organising committee that “It would be better if we involved a producer who could make sense of it all and put it all together, so we should get Okano (HAJIME) to do this.”
――Speaking of Okano HAJIME-san, he was also involved in DER ZIBET’s production in the past, and he’s also gone on the Pugs US tour with HIKARU-san as a fellow band member too. He’s someone you’ve got close ties to, isn’t he?
H: I couldn’t think of anyone else. In any case, there were a lot of different musicians participating in this tribute so I thought it’d be tough to bring all their sounds together. Even before talk of a tribute came up, Okano-san told me during a call we had that “I’m up for anything” so that also left an impression in my mind, you know? From what I heard, it seems like he quite enjoyed working on the production of the tribute so I’m glad.
――It appears that this tribute album will have two discs and the participating artists are made up of those who are from the same era as DER ZIBET, even seniors and juniors. What kind of impression does such a lineup leave you with?
H: I haven’t yet heard all of their music, not even all of Tsuchiya(Masami)-san’s, but it’s really quite the variety of people taking part and I think whatever they’ve come up with so far all sounds great.
――Members of Valentine D.C., a band who HIKARU-san once had a hand in producing, the band Dantoudai no MELODY which was newly formed by Kneuklid Romance’s Ogasawara Kenichi-san and YUTAKA-san, Akito-san (presently a member of the superlative degree) who was in the band ALL I NEED; all these artists a.k.a. HIKARU’s children are also involved in this tribute album. How do you feel about that?
H: I’m of course happy about it, and although I was worried until I got to hear their music (lol), all of them sounded cool so I’m relieved.
――No matter the artist, they all have some sort of connection to DER ZIBET but in particular, DIE-san (Ra:IN) was more than just a support musician during your HOMO DEMENS album era. He was as good as a quasi member of the band having gone on tour with you all, and during the tribute recording session, he even said, “To me, meeting DER ZIBET was the most significant thing of all [in my life]. You could almost say that my career as a professional musician started from there. In a sense, DER ZIBET is like the hometown where I was born.”
H: That’s probably very true. If I hadn’t dragged him in, DIE-chan might’ve never gotten a mohawk too (lol).
――This eventually led to his great work in hide with Spread Beaver too.
H: He got a mohawk when he was with DZ, and after that he got pulled into ZI:KILL, and after seeing him there, hide pulled him over. I don’t know how grateful he feels about that, though (lol).
――I think he’s very grateful. He even participated in two songs for this tribute. Moving on, Honda Takeshi-san (PERSONZ) is a guitarist of the same generation as HIKARU-san who’s also taking part. Among the guitar enthusiasts, Honda-san and HIKARU-san appear to attract the same level of attention as guitarists who are skilled at using effects pedals.
H: I like effects pedals too but my sellability is not the same as Takeshi’s, is it? (Lol) But Takeshi and I are friends. We often went drinking together, and have also gone to watch each others’ live shows. And since he’s participating in the tribute, he wrote about DZ on X. Like how he thought maybe Japanese bands weren’t something to scoff at after seeing us. I just feel that he should’ve said so earlier back then (lol).
――This time, Watanabe Mitsugu-san from PERSONZ is also involved in another song, isn’t he?
H: They’ve never actually attended our live shows but they have joined us for just the afterparties before (lol). Speaking of which, Mitsugu called me to say, “I think I’ll do it.” I can’t remember when we exchanged phone numbers, but “Mitsugu” appeared on my phone screen (lol).
――An artist from your generation, Sumida Takeshi-san is also taking part [in this tribute]. Upon hearing of ISSAY-san’s passing last August 10th, he posted something very memorable on X, “When it comes to ISSAY, I would say that he’s a senior in our high school of culture. People say that he’s a pioneer of [the] visual [genre] but he’s in a whole other cultural class of his own. There isn’t the slightest trace of rowdiness in him at all. All of DER ZIBET are like that.” I think so too.
H: Right. I think that we’re a band who had no sort of jock culture or hierarchical relationship. Even between ISSAY and I, whenever we drink the conversation more or less always goes there. Talking about history and all that.
――That’s a pretty sober topic to go with finger food, isn’t it (lol).
H: When it comes to our history, he knows it all down to the details. From history, we’d move to talking about the album and the lyrics anyway. But I’m not that familiar with it. After our reunion, I listened to him talk about all sorts of things whenever we went drinking and when there was something which piqued my interest, I wanted to find some way to keep up [with the conversation] so I read all of Shiba Ryoutarou’s books, gathered my own materials. That was the kind of good influence he had on me.
――Being the band which you’ve been in with ISSAY-san, what is DER ZIBET to HIKARU-san?
H: It is ultimately my life’s work. Especially since after our reunion, this is the only place where I can perform the music I made myself, and that remains true even now. In the almost 17 years since the band came back together, ISSAY and MAHITO expanded on what I created which I found helpful and enjoyed. Looking back after this has all ended, I think we kept at it for a long time, and although I think it was good that we were able to do this for as long as we did, I just feel that there’s still a lot I want to do.
――Please, for the sake of DER ZIBET and your fans, let the unreleased songs see the light of day!
H: Right. Since I mentioned it here, I guess can only follow through with it.
――Lastly. Tell us what you like about ISSAY-san.
H: What do I like about him? Not much at all (lol). But after the band got back together, I found that he’s grown more amenable and when drinking, we could even talk about the times when we didn’t get along. I think it’s adorable whenever he said things like, “I really want to punch myself from back then” though. (Lol)
text by Kanemitsu Hirofumi photograph by Sasahara Kiyoaki_L Management
Now, is the time for change
Hoshino Hidehiko will celebrate his 58th birthday on 16 June. This once-a-year series has continued these past 23 years since 2001 with the simple reason that “[his] birthday is in June”, but more often than not, the publishing period doesn’t coincide with a release, so it frequently results in him talking about his ordinary, carefree, leisurely daily life. But that’s not all for this year. BUCK-TICK now consists of four members and they’re recording something new while exploring a new style. Furthermore, where Hoshino stands in the band has changed and as he approaches his 60th birthday, he’s looking to change things up.
What he talks about hasn’t changed much; it’s his usual way of daily life but when it comes to the band, there’s a change in his attitude and his resolve comes across. Recording is going well, so the day when we get to hear what the overhauled BUCK-TICK sounds like probably isn’t too far off. From each word he spoke, I sensed anticipation more than anxiousness.
I quite often attend my friends’ concerts
The other day, I went to see my first SUPER BEAVER show
――Once again, it’s June.
Hoshino (H): Sure is. It still continues even after publishing two books, doesn’t it? This series (lol).
――It’ll keep going until the end of Ongaku to Hito (lol). Now, how has this year’s Hoshino-san been?
H: Recording work has begun but right before that, I went to Tomamu (Hoshino Resorts TOMAMU Ski Area) in spring to ski and all. Since it’s been a while since I could spend time with the family.
――I’m glad to hear you enjoying yourself.
H: It was my first time at Tomamu but it was great. I’d like to go again.
――When we did our interviews remotely, I noticed that the number of snowboards behind your home studio increased (lol).
H: Hahahaha. Because my studio is gradually turning into a storeroom. There are three boards in there now (lol).
――Sure is tough being a dad (lol).
H: There aren’t any big changes at home…… Ah, my eldest son who was studying abroad has changed his plans and come back. He’s resumed university too. Things have gotten lively again at home. He said it’s hard living in the UK (lol).
――I see (lol). Hoshino-san has also started going out recently, haven’t you?
H: That’s right. I quite often attend my friends’ concerts. The other day, I went to see my first SUPER BEAVER show.
――Oh, that’s a surprise!
H: I got to know bassist Kenta (Uesugi Kenta) through T$UYO$HI-kun from The BONEZ. And we grew closer meeting at dinner parties and other events.So, he invited me to a show. Other than that, I also went to see The BONEZ, Kishidan, GLAY too. And Maneskin as well. Every now and then I’m going.
――What music are you listening to these days?
H: I mainly listen to playlists on subscription services¹.
――Ah, so you listen to your own playlists you put together with the songs you like?
H: No, no, no, doing that is troublesome so I only listen to things like these (he then shows me his phone screen).
――But do you really have to listen to “Introduction to² BOØWY” in this day and age? (lol)
H: Ahaha. Nostalgic, though, isn’t it? Also, when I wake up on Sundays, it’ll be “Sunday Morning”. If it rains, it’ll be “Rainy Day”. There’s quite a variety.
――And if you like [a song], you’ll save it?
H: Nah, just in the moment (lol). I’d think, “Aah, what a nice song,” but once the next song comes on, I’d go “oh well” and leave it to stream away.
――I was aware, but this is a really un-musician-like story (lol).
H: You already know, don’t you (lol).
――How old are you turning this June again?
H: I’ll turn 58.
――Getting closer to your 60th.
H: Yeah, well, that’s true. Anii (Yagami Toll / drummer) is already past 60 but, next year, there will be one more person who will reach that stage of life too.
――Is there someone you admire in terms of how they live their later years?
H: Like, how they age and grow older?
――That’s right. In recent times…… Maybe Tachi Hiroshi?
H: That’s amazing (lol). Something like that is impossible [for me]. I’m worried for my back (lol). But I look up to old men who live with an easygoing mannerism more instead of that level of a petit-maître. Like Tokoro-san (Tokoro George), and, who was it…… That easygoing and kinda risque [guy].
――Uhhh…… Girolamo?
H: Not him (lol). Ah, Takada Junji-san. Doesn’t he look like he’s having fun living life? That’s what I want to become.
――I doubt it’s possible to be as carefree as him though, right? (Lol). Anyway, you mentioned that you’re currently in the midst of recording, but how’s that going?
H:There’s one song; it’s not completed yet but there are songs that are more or less done. There are a number of tracks that already have the bass recorded, so we’re just making progress by working on each of them, one by one.
When I’m composing music, I can’t just think about composing a nice melody
I have to start by considering that if I’m going to sing, I’d try not to have to play the guitar so much in concert.
――You’re working on finishing the songs one by one because Yuta-san (Higuchi Yutaka / bassist) requested so, right?
H: That’s right. But in terms of the big picture…… I don’t feel like we’re at a stage when we can see it yet.
――The album’s?
H: Whether it’s the album’s or the direction of the new BUCK-TICK, I suppose. The songs are pretty much done to some extent, but as to how we’re going to give them shape with what kind of balance and so on, I guess there are some areas we’re still figuring out.
――What are you figuring out?
H: As of now, I can’t really go into detail yet (lol). Mm…… Sound-wise it won’t be the same as what we’ve done all this time, so I guess, we’re figuring out how to bring it all together.
――Everyone’s looking forward to it with bated breath.
H: Even I am looking forward to it, you know?
――What are Hoshino-san’s thoughts after listening to that one almost-complete track?
H: In summary, it [feels] new, has a BUCK-TICK-ness to it, and carries the conviction that the band will continue on. Things like that. Of course, I know that we’re going to become a BUCK-TICK unlike before, but probably, I suppose everyone expects as much. I guess it feels more like a diagonal shift.
――Is it tough creating something unlike anything you’ve done before despite carrying the same band name?
H: Nah, I thought it was surprisingly workable. New ideas kept popping up too…… Well, we absolutely had to have them but it was surprisingly less of a struggle than I expected.
――And of course, Hoshino-san is also putting out music, right?
H: A number of them already. But Imai-san (Imai Hisashi / guitarist) did far more than me. He’s really churning them out.
――Is Hoshino-san doing vocal recording?
H: That, I am (sharp gaze).
――Ohh! So that means it’s Imai and Hoshino, you two who are recording vocals.
H: Mm. Sometimes we do it together too, all that.
――Not Yuta-san, though?
H: He absolutely refused (lol).
――Hahahahahaha. In the past, Anii said that he would do it if asked (lol).
H: While drumming? We’ll give it a think (lol).
――With the way things are this time, did you feel like you had to change the mindset you’ve had thus far?
H: Right. Well…… When we made the decision to continue as four, the switch had already happened. Probably all four of us at that point had already taken the first step forward. We had no choice but to make it work, so we switched gears. Half a year has passed since then, so we can just take our time to get used to this state of affairs from here on out. That’s what I thought. Since we already decided to continue, we definitely won’t forget [the past], but we have to move forward. That’s how our mindset changed.
――But wouldn’t you have never expected that such a big change would happen to you just before your 60th?
H: Well, yeah.
――Imai-san was happy playing guitar on the side of the stage, and Hoshino-san was happy to take a step back and just compose songs in your distinctive style. The roles that you play in BUCK-TICK have undergone a huge change.
H: Well, we started by first dividing up responsibilities. Even though I’m still composing music, I can’t just think about composing a nice melody the same way I have so far. I have to start by considering that if I’m going to sing, I would want to make it such that I don’t have to play the guitar so much in concert.
――Yes, I see.
H: But this is also life, right? (Lol) The fact that such things can happen too. It’s a test we never saw coming but we don’t know what will happen or how things will turn out, so I think the only thing I can do is to enjoy the change.
――Thus far, Hoshino-san’s songs for BUCK-TICK had their special characteristics, right? Is that going to change a little too?
H: Most likely. Of course, there are parts that I would like to keep, but there are also parts that are rather different.
――Because of that sudden change in mindset.
H: That’s right.
――How’s the rest of the band?
H: Initially, Yuta seemed to take it really hard but now, I think he’s slowly getting back to normal. Everyone’s got a little more things they need to do now though. Like, I’m even going for vocal training.
――OH!
H: Might as well, since I’ll be singing, right? At the same time, I feel like I don’t have to worry too much about it, but I don’t normally raise my voice, you know? And I haven’t been to any karaoke sessions recently either (lol).
――I’m looking forward to it. All that’s left is for Hoshino-san to live everyday relaxed, in all positive meanings of it.
H: Yeah, well, that much is fine. When recording, there are a lot of first-times so that makes me nervous but we’re spending a longer than usual time on it, and things are scheduled with quite a number of intervals so there’s time to think anyway. During those periods, I can take it easy.
――That’s nice.
H: Well, but as long as I’m at home, I’m a pick-up and drop-off service among other miscellaneous jobs, you know (lol).
――Being a dad is busywork (lol). When you turn sixty in two years, let’s release a commemorative book.
H: Like a compilation (lol).
――We’ll go to an island further south than the previous [photo shooting] locations of Taiwan and Okinawa.
H: In that case, for variety’s sake, [let’s go to] Italy or something (lol).
Notes:
¹ E.g. Apple Music, Spotify, YouTube Music etc.
² I thought of using the typical naming convention that is available in Spotify (This is –), but I’m not sure what it looks like in Japanese. The names of the playlists here following the naming convention that implies “Introduction to –” (はじめての — / hajimete no —) so that’s what I decided to use instead. I have no idea what platform he’s using, though. So I can’t be 100% sure that “Introduction to –” is the official naming convention in English, assuming the platform has an English interface, of course. He could very well be using a platform that’s exclusive to Japan.
The photoshoot location for this year’s Poem of June was Odaiba’s sandy beach. The weather looked good and we planned to do the shoot in the lingering sunset at dusk, but when we looked at the weather forecast one day prior, it predicted stormy weather, and that a heavy storm warning might be issued starting that evening. Furthermore, there was news that typhoon-like winds might blow, so we started the photoshoot three hours before the originally planned time. The wind felt gentle and Hoshino-san laughed as he said, “Will the wind really pick up later on?” But it appears that in the evening, Odaiba really came under the beating of very strong wounds. It’s a real blessing we started early……
Cut through this Endless Darkness¹
Interview with Imai Hisashi
text by Kanemitsu Hirofumi
photos by Yamauchi Hiroe, Aoki Hayaka
The final performances of BUCK-TICK TOUR 2023 異空 -IZORA- happened over two days, on the 17th and the 18th of September at Gunma Music Center. There’s a lot of significance behind concluding their tour and closing off their 35th anniversary year which started with a 2-day event at Yokohama Arena last year in this hometown venue where the band used to often perform; it’s a preface indicating that this is not an “ending” but a “beginning”.
And three days after the final show was the 21st of September. That’s right, on this very anniversary day marking the band’s debut, I interviewed guitarist Imai Hisashi. Rather than fixate on the concluded tour, he’s already looking ahead, feeling his way to his next vision. This is precisely why the last song of their final show had to be New World. The 異空 -IZORA- that Imai speaks of, the tour, and also a formidable hope towards something new; these are what he shared with us in great detail.
I couldn’t wrap my head around what kind of album this is
But I just knew that it was nothing like anything we’ve done before
Then we started touring and I started to get a feel of the response
ーーIt just occurred to me that today is the 21st of September. That’s BUCK-TICK’s debut anniversary day, right!
Imai (I): Ah, huh…… Congrats.
ーーThat’s my line (lol). While there’s still one rescheduled Nagoya show left, for now, the 異空 -IZORA- tour has come to an end. I think the concerts were exquisitely executed and they really showed us the album’s world, but I’d like to hear Imai-san’s perspective on it.
I: I composed a bunch of different things myself and, you know, in the beginning, I couldn’t wrap my head around what kind of album this is at all. But I just knew that it was nothing like anything we’ve done before. Then we started touring and I started to get a feel of the [audience’s] response, and I guess you could say, the more shows we played, the more I got into it?…… Yeah. I just felt really strongly that it’s an album like nothing we’ve done before.
ーーAs you mentioned in [past] interviews, the concert was structured to start with the first track of the album, QUANTUM Ⅰ and end with the last track, QUANTUM Ⅱ. Your first show at Hachioji barely had any MC segments, neither was there member introductions or a drum solo.
I: Ah, right, that’s what the very first one was like? Not doing the drum solo was most likely an idea that came from Sakurai-san (vocalist Sakurai Atsushi), probably. This time, it was Sakurai-san who posed the suggestion that since we’ll basically do away with member introductions, we should start the encore with a drum solo.
ーーI see. But I felt that structure coupled with the content madethis concert a thorough approach to bringing the world of the album to life.
I: That, definitely. But it’s also because we gradually got a better grasp of it as time went on. When the first show concluded, I thought, this is unlike anything we’ve done before. I wasn’t sure what it would turn into but as the shows went on, things got more and more interesting. And the [audience’s] reception was good too, right?
ーーIn it, the character “Hizumi-chan” takes over Sakurai-san and starts taking on a life of its own. There’s no arguing that was the highlight of this tour.
I: It didn’t feel like that in the beginning though. But it really is amazing that Sakurai-san gets up on stage and puts on such a performance on his own volition as a vocalist, isn’t it?
ーーThat’s one of the things everyone goes along with as long as it’s what Sakurai-san wants to do, right?
I: Yeah. I don’t [say] I want him to do something in particular or anything like that. I never have.
ーーI think the timing of this tour happens right when the COVID-19 pandemic has settled and the audience can cheer, when concerts are going back to normal. How has the response been?
I: As expected, I got the feeling that people haven’t quite gotten used to it or something in the beginning, but they were reserved, you know? I guess everyone was watching us with the vibe that they weren’t too sure what they should do. Things haven’t completely gone back to the way they were originally but we’re slowly getting there.
ーーAnd the final shows of this tour were held in BUCK-TICK’s home town, at Gunma Music Centre.
I: Those two days were really fun. At the very end, it finally sank in that this is how everything ended up. It was an album that was nothing like what we had done, but I didn’t foresee that this is what it would become either. As I said earlier, I couldn’t grasp what it would become, up until the very end.
ーーI wonder why.
I: Not because it was influenced by something else but while composing the songs, first, my PC broke.
ーーAh, right (lol).
I: So my music composing environment at home changed, you see? I wasn’t familiar with the new system and I couldn’t use the workspace I set up for my work PC, so I ended up having to compose in a really really inconvenient space (lol).
ーーNot at the basement work den where your PC was set up?
I: Not there, but at a low table near the sofa at the back (lol). I set the system up there but since it’s on a low table, it was a bit of a stoop while working so I had to hunch while programming (lol).
ーーHahahahahahaha.
I: It was sooo uncomfortable (lol). Then, we initially wanted to release two CDs so our original goal was something else entirely too. That’s why I say that 異空 -IZORA- is [an album] that didn’t have anything; not a plan nor a theme nor even a concept. And we just went along with the idea that we’ll keep recording whatever we made. Then halfway through came the decision to make it one CD so even I couldn’t really make sense of what kind of work this would be after we put all the songs we recorded together.
ーーSo starting with QUANTUM Ⅰ and ending with QUANTUM Ⅱ was how you gave it some coherence.
I: Yeah. And while we were performing, I guess I found myself understanding better what [the album] was supposed to be.
ーーThat’s really how it went, right? Also, going a little off topic, since you dropped the idea of releasing two CDs, what happened to the unreleased songs and the half-recorded songs that didn’t make the cut?
I: With those, we’d probably have another look at them or redo them, I think.
ーーA relook!
I: If they were already recorded in full, I might think they’re OK as they are, but there are only a few tracks that has Yuta’s (Higuchi Yutaka) bass and Hide’s (Hoshino Hidehiko) guitar recorded, and don’t have my guitar or Sakurai-san’s voice recorded yet. So I’m thinking I could incorporate the ideas that I’m getting now and the things I want to try in these songs.
At first, we planned to end the same way we did with the tour shows
But I thought, we always play New World at the end of these milestone shows
ーーI see. So, was it always part of the plan to celebrate the final at Gunma Music Centre?
I: You could say we wanted some sort of closure after all. And if we were to do that, then our hometown’s the place, I suppose. There were a number of different venues in the running, but Gunma Music Centre is one where we will almost always play whenever we go on tour anyway. Since it’s getting older and people are saying that soon it wouldn’t be able to host concerts anymore, we decided that it was probably a good idea to do this here and now. Besides, it’s also our anniversary.
ーーI see.
I: Back in my high school days, I went there to watch something for a school event. So that’s exactly how long it’s been around. The changing rooms are small, and it gets really really cold in winter (lol). But it’s nice to perform there after once in a while.
ーーYou’ve also switched out quite a few songs from the tour’s regular setlist.
I: I think we put in more songs that weren’t from this album.
ーーAmong them was New World which came at the very end of the encore. I think that made a huge impact.
I: It wasn’t in the original setlist, was it? Everyone brought up the songs they wanted to perform, we picked a few to change things up, and we planned to end the show with Na mo Naki Watashi, same as the tour. But we always play New World at the end of these milestone shows though…… that’s what I felt. So I requested this song and ICONOCLASM, and said, why don’t we play New World at the end.
ーーHaving New World at the end not only wraps up 異空 -IZORA-, but it also creates the sense that the band is start up again from that point on, doesn’t it?
I: I just thought that it’d be so good. When you think about it, even the venue is a place in our hometown that we’ve always played at since ages ago too. It’s great, isn’t it?
ーーThe way it brings out memories of how the five of you felt 35 years ago?
I: Yeah…… Maybe that’s the feeling.
ーーSo the tour has ended, it’s been announced that there’s a documentary movie in production and that the annual Nippon Budokan show will be happening, but do you, Imai-san, have a vision of what you’re going to do next already?
I: I’m really getting heaps of the “I want to create something” feeling.
ーーActually, I want to hear about the contents of the “heaps” (lol).
I: I don’t know exactly what they are but I’m thinking it’d be great if we could do something new again that feels different. Like, I think I can create something like that again.
ーーWith BUCK-TICK?
I: Yeah.
ーーI always say this but that’s the amazing thing [about you guys]. If you wanted to do something that feels different, you’d more likely work with different musicians instead of the same band members, which I think would make it easier to get a hold of that change though.
I: Nah, if we can do it, I want to give it a try with this and that. Right when we just started going on tour, Raymond (Raymond Watts / PIG) came to Japan and together with Sakurai-san, we met up, went for food and drinks, and got buzzed with talk about doing SCHWEIN again. At the time we didn’t really have the time and energy to think about doing that properly yet so we stopped the conversion there and told him to wait a bit until we wrapped up the tour.
ーーWhat did Raymond say?
I: He said, “Let’s do a SCHWEIN US tour.” (Lol)
ーーBefore the album was released, SCHAFT also came up in conversation when we were having drinks after the dialogue interview with Takeshi-kun (Ueda Takeshi / AA＝).
I: Right. So, you see, I’ve always harboured the desire to continue activities with SCHAFT and SCHWEIN and Lucy. But it’s all about timing with all of them. At the same time, I want to do whatever I can do while I can. But I hate being so busy that I’m pressed for time, and more than that, the band I want to work on the most is BUCK-TICK, you see.
ーーI really wonder why you feel so strongly about BUCK-TICK’s activities.
I: Hurhur. I forgot (lol).
ーーBut obviously things aren’t the same as they were 35 years ago. Oddly enough, even though everyone’s grown older and even started their own families, everyone’s still dedicated to the one same goal. And that’s really difficult to have, I think.
I: But our roots have never changed. I don’t think it’s something that can be changed all that easily.
ーーWhen I reflect on myself, I feel like a lot has changed. I realise that I can’t dedicate a hundred percent of myself to magazine work because other than that, I still have to deal with my family and children, the company, and management of it too.
I: Isn’t that an occupational difference? It’s probably not the same.
ーーSo what’s different for a band?
I: We’re more selfish² (lol). We do of course take into consideration things like we can and cannot do, our families. We do that, but we have freedom, you know? There’s no rigidity. Because what a band needs are things like artistic qualities and creativity. Things like these, you can’t really use force to squeeze something out or we’d end up getting constrained and stifled, you know?
ーーI see.
I: All’s good as long as we can enjoy ourselves. Probably because there are many different ways to have fun. Because it’s not about how long we spend, but the quality [of what we do].
ーーThat’s true.
I: That’s why I want to have fun as a band. While we can and are doing it. Because I don’t want to find myself one day going, “Ahー I should’ve done that,” and regret.
ーーDo you feel distant within the band? Did that change?
I: Of course it changed. Because it’s no longer just the band [in our lives]. But when it comes to the band, what hasn’t changed is our dedication to creating.
ーーAny interest in doing concerts that recreate albums, or re-recording stuff?
I: Hm…… Like?
ーーLike a concert where the main segment is made up of only songs from Six／Nine or something like that. That kind of an approach.
I: Why would we do that?
ーーThere are a lot of bands who have been at it for a long time and aren’t there people saying that they want to hear the vibe of this album [from the past] or hear you do songs that you rarely play? Or even doing this just to generate some buzz. Things like that?
I: Huーm……… Boring.
ーーHahahahahahaha.
I: Although it might be interesting if we went with the approach of going all out to change the arrangement [of our songs] like what we did with Koroshi no Shirabe (This is NOT Greatest Hits) (note: their self-cover album released in 1992). But I did try to envision such a concert before. For example, what would it be like if we did a concert in the world of 13-Kai wa Gekkou and did it like that throughout? I gave it some thought but…… I think I’d really hate it.
ーーHahahahahahaha!
I: Like, it’d make me gloomy, I think. Because that would definitely make me want to do something new.
ーーAfter being in the same band for so long, others tend to do those reprisal concerts or do re-recordings to find some change in perspective or a breath of fresh air, but that’s not how it works [for you], right?
I: I think our old songs are things that belong to those days so that’s enough. Even if one day I find myself thinking we should try recreating things, it wouldn’t be a direct reproduction and in the end, I feel like it’d just end up becoming all tied up in gothic nuances.
ーーSo instead of doing that, you’d rather go with the approach of doing whatever catches your fancy.
I: New things are always more fun.
ーーThat’s why you want to create something new.
I: That’s right. Which is why after this, we still have the live house tour and all but I want to start on the next thing already. And when I think about that, the ones that can bring it to life are BUCK-TICK after all.
ーーI would think so.
I: We’ll soon start creating next year so.
ーーHave you spoken to the band?
I: Not yet (lol). But we’ll definitely create.
Notes:
¹ Lyrics from New World: 無限の闇 切り裂いてゆけ (Mugen no yami kiri saite yuke)
² More than just “selfish”, 勝手 (katte) also carries the nuance of “doing whatever one pleases” and a certain degree of “freedom”.
Since you’ve wrapped up your tour, let’s do an interview — that was the suggestion. Ever since the COVID-19 pandemic, the concept of conducting an interview over drinks when it comes to BUCK-TICK has recently been lost. But just when we thought that this tradition had come to an end, Imai raised the request, “…… Let’s go drink!”. We even went to the ramen place that we often frequented in the middle of the night back then, and before we knew it, seven hours had gone by. That’s right. This is how interviews with Imai go…… But without [Imai] even turning into a Jizo statue* halfway, the party ended before the last train. To Kanemitsu, this might just be a [sign of] significant improvement [on Imai’s part], or perhaps, something entirely revolutionary? Could this mean that next time, [Imai would hold up] until the last train before leaving too!?
Notes:
* Oftentimes, Imai would space out and fall asleep pretty early on during drinking parties. When he spaces out, people say he’s a Jizo statue.
Yet, having witnessed the effort and the miracle of how you stayed in a band with the same members for 35 years, there were times when I started to believe that maybe something like this could last forever.
But suddenly, that day arrived.
Now, I can dream no longer. The sadness is too great.
You were kind. You always considered how others felt before yourself. Especially when it came to your fans. The person who was Sakurai Atsushi left deep impressions in each and everyone’s hearts; never turning his gaze away from what supports life, he always faced it head on, and never betrayed these feelings. This sincerity is something that no one could ever imitate. And I believe there were many fans who had also been saved by him.
At the same time, the innocent demeanour he showed on occasion was loved by all. Instead of playing the role of BUCK-TICK’s vocalist, that was probably the closest to him being his normal self. In the past, when I used to drink with just the band until daybreak, I often got to see the gentle smile that he would only ever show the people he could trust.
But he could never wipe away the hurt that he carried with him since childhood. He had a heart as fragile as glass. He was plagued by anxiety over death and endings. He piled all of this into a world that represented him, where we saw his struggles. But it is precisely because he understood such emotions that his song could touch the hearts of those fraught with scars. And somewhere in there existed an intense hope.
A person who lived a moment as if it were eternity. Whose story curtains suddenly descended upon. On stage, under the watch of his fellow bandmates. Such an ending was not something anyone could’ve imagined nor wanted. But if we were to say farewell one day, we were saved by the fact that the four people who spent 35 years with us are here…… That’s all I think.
He said that he liked parting with the words, “See you later.”
We don’t know whether we’ll meet again. We might not be able to see each other, and promising such a future is sad. But we can live on because there’s that possibility.
The words we should say to this person he was isn’t “goodbye”. Neither is it “thank you”, or “you’ve done well”.
Concert report of Yagami Toll’s 61st birthday celebration
Ongaku to Hito
October 2023
text by Kanemitsu Hirofumi, photographs by Shibata Eri
Medal of a 61-year old
Yagami Toll’s annual birthday live was held at Shimokitazawa Shangri-La. Participating artists were originally announced as “Yagami Toll & His Merry Friends” (lol) but the drum session and band performance with these friends of his made for an interesting combination of blessings and insight into Anii’s history.
The connections that Yagami Toll forged was shown through music in this show
I hope we’ll always get to see his shy smile as he drums
The annual birthday live held on August 19, Yagami Toll’s birthday. Just like 2021, this year’s event was held at Shimokitazawa Shangri-La.
The show was divided into two parts. The first part was a competitive jam session which gave us a stripped down look at “Yagami Toll, the drummer”. Interspersed with some words by the emcee, the first to come on stage was Tetsu (D’ ERLANGER) who looks up to Yagami as his aniki. As they performed Sayonara Shelter without drums in the backing music and Yagami Toll & Blue Sky’s Oh!My God!, we could see the unique characteristics in each drummer’s drumming style through their double performance. In this, we could also get a sense of the history of how they changed over the years to match each band’s sound. Even so, just stepping on the bass drum emits a thunderous “don!” which shakes up the atmosphere in the hall and gets the audience abuzz. Rarely do we get the chance to experience drumming in such an enclosed space.
Next to come on stage was Minato Masafumi, known to be Yagami’s sworn brother and part of the “Led Zeppelin Symposium” with whom he would always end up talking about John Bonham when drinking together. It needs no saying that the song to play was Mune Ippai no Ai wo (胸いっぱいの愛を). Blue Sky’s KANAME and Yagi Masato joined them. But unlike Tetsu’s who came earlier, this was a session where they competed against each other to prove who loved Bonzo more through the drums, rather than giving and taking because of seniority.
And last for the first part was Higuchi Yutaka. Every year, Higuchi would make an appearance as the birthday boy bearing the cake but today, he came on stage as a bassist. He was shy when he spoke but playing to the bass-less and drum-less backing tracks of Mugen LOOP and Taiyou to Icarus, his rhythm was steady. Seeing this, it was clear to me that Yagami’s drumming was rooted in Led Zeppelin and Japan’s old-school rock music; a world apart from BUCK-TICK’s type of music. In other words, it was only after he was dragged out to Tokyo by Higuchi and became a member of BUCK-TICK that he started to drum in BUCK-TICK’s unique style.
Then came the second half. This started with a performance by Yagami Toll & Blue Sky. Joining them on keyboards was Nakayama Tsutomu, the very same producer who worked with BUCK-TICK in their early days (and a person Yagami labelled, “someone who could help if I ever needed a hand” (lol)), and guitarist Yonezawa Seiichirou. This painted a beautiful story that could only be told on this day, connecting past and present. At the same time, Suzuki Momoko (COSA NOSTRA), Kiyama Yusaku, and Tago Kunio’s involvement in Blue Sky was also a result of that “fate”. Suzuki provided the lyrics to the song Blow Wind which was recorded in their 2019 album, WONDERFUL HOME -Thunder&CoId wind-, and band member KANAME was also a part of COSA NOSTRA. Their biggest hit song, home was sung by Kiyama and produced by Tago, and Tago runs TAGO STUDIO TAKASAKI in Gunma, where Yagami recorded his own album.
The connections that Yagami Toll forged was shown through music in this show. In the encore, Yagami himself sings Carol’s Funky Monkey Baby in a grand finale. Next year, he will hold his 62nd birthday’s show. I hope we’ll always get to see his shy smile as he drums.
