Tag: Yoshiyuki

BUCK-TICK | [5 Jan 2024] JVC Music: BUCK-TICK Genshou 2023 Concert Report

Posted on by Yoshiyuki

BUCK-TICK Genshou -2023- Concert Report

JVC Music
5 January 2024

Text ＝ Okubo Yuka
Photos ＝ Seitaro Tanaka

 

【LIVE REPORT】
BUCK-TICK “BUCK-TICK Genshou -2023-” (BUCK-TICK Phenomenon 2023 / バクチク現象-2023-)
2023.12.29 at the Nippon Budokan

 

 

Come, let’s get started──

When 29 December’s BUCK-TICK Genshou -2023- at the Nippon Budokan was announced with those words, it felt as if they lifted our gaze which had been downcast for so long. This was three weeks after the news came on 24 October that their vocalist, Sakurai Atsushi had passed on.

This was a period when everyone quietly watched and waited to see what BUCK-TICK would do going forward after being hit by the greatest sadness in their history. Honestly speaking, that announcement was such a bright light that I subconsciously wanted to look away. Given that no details were announced about the show itself, I believe there were many who felt worried too about how it would turn out.

But it’s easy for us to imagine the extraordinary determination the band members had put into this show title. BUCK-TICK Genshou (BUCK-TICK Phenomenon / バクチク現象) is a title that they also used in 1987 for gigs they played around the time of their major debut, and for the first show they played after a six-month hiatus on 29 December 1989 at the Tokyo Dome. In other words, this term represents turning points for them.

Imai Hisashi (guitarist) appeared on the BUCK-TICK Genshou -2023- stage with the same bright red hair he had 34 years ago at their show in Tokyo Dome. The moment I saw him, my anxieties were blown away despite tears welling up in my eyes.

As the hall turned dark, powerful clapping sounded in time to the SE which played; THEME OF B-T. Higuchi Yutaka (bassist), Yagami Toll (drummer), Hoshino Hidehiko (gutarist), and Imai Hisashi came on stage in that order. After the words reading “バクチク現象 (BUCK-TICK Genshou)” came up on the crimson red screen, Sakurai’s silhouette appeared on the centre platform where he always stood.

“Come let’s get started, we’re BUCK-TICK!” With Imai’s shout, the first song started; Shippuu no Blade Runner. Instead of a mic stand in the centre of the stage, a few spotlights came together to shine down. Perhaps it’s because there’s no mic there, but it felt as if Sakurai’s singing came down upon us from the skies above.

Like a ray of light in the midst of despair, the glittering rock melody sings, “Tonight  (I) bring to you  a treasure  a promise (今夜 お前に届けよう 宝物だ 約束だ)”; a perfect description of this show. It felt as if they handed “hope” to us in the palm of their hands. A string of up-beat songs were played Dokudanjo Beauty-R.I.P.-, Go-Go B-T TRAIN, GUSTAVE, telling the audience to raise their heads and look up even if they are tearful.

Both Imai and Hoshino fired up the stage with more aggressive performances than usual. The energy in the hall went up every time Imai said a few words, like “Don’t miss the ride!” during Go-Go B-T TRAIN, and “Miaows. Hope you all have a good time today.” during GUSTAVE. During FUTURE SONG -Mirai ga Tooru- which features Sakurai and Imai’s duet, Higuchi tried imitating Sakurai’s movements, and Hoshino also sang, overlapping with Sakurai’s voice.

Most unexpected of all was when I realised during Boogie Woogie and Yagami’s powerful up-beat drumming that at some point my tears had rescinded and I was genuinely enjoying the show. I have nothing but admiration for the band and their ability to fire up the audience like this even though they all must have been in deep sadness at the beginning of the show.

The atmosphere took a turn in the mid-section of the show, reflecting vividly and sadly Sakurai’s absence by beginning with Itoshi no Rock Star where he sang alongside ISSAY (DER ZIBET) who passed away last August. During Itoshi no Rock Star, unbearable sobbing in the audience grew louder as we watched concert footage of the two of them on that day on screen.

Next was Sakura which started with an oriental-sounding instrumental by Imai. In this song, the screen and even the ceiling of the Budokan was filled with cherry blossoms dancing in the air; a sight so beautiful yet it added to the sadness. Adding on, Lullaby-Ⅲ and ROMANCE came after that like a sort of funeral march, letting us listen to the songs which strongly accentuated Sakurai’s aesthetic perspective one after another.

This show did not feature Sakurai’s footage throughout. Rather, there were a few songs where we could only feel Sakurai’s presence with his voice. Especially towards the end when they put together songs during which you could almost see him singing right in front of you.

Like the Latin-style dance track Django!!! -Genwaku no Django-, Taiyou to Icarus where he flies freely through the sky with arms spread wide, and during Memento mori where the audience actually had lights shining on them as if in sync with Sakurai’s movements in the video footage.

Smoke carpeted the stage floor in Muma -The Nightmare and the audience raised their arms into the air as if he reigned before our eyes, while during DIABOLO, the four members of the band looked like a circus troupe elevating Sakurai as the ringmaster. It was a moment when they distinctly carved out his profile as a vocalist precisely because he’s not around.

The encore started with Yagami’s drum solo and after the first song, STEPPERS -PARADE- was played, the band members who have yet to make any public statement thus far began to talk about their present feelings one by one.

Choking on his tears, Higuchi said, “BUCK-TICK is a live band so I believe we grew through our live shows. And it’s also something that’s created together with everyone. Although Acchan has gone to heaven, BUCK-TICK will always be five. I don’t know what kind of future it will be, but one thing I know for sure is that we’ll continue as BUCK-TICK with everyone.”

Yagami eased the air when he commented, “I never thought my delinquent younger brother would say such admirable things.” Then, he added, “You could say it’s unprecedented, the situation it’s turned out to be. Should we continue, or is it better to stop? We gave it a lot of thought. But given that we have all of you fans like this… we would like to keep going as BUCK-TICK.”

“We managed to take a new step forward today. My sincere thanks to all of you for making your way to the Budokan despite the uncertainty. You were worried, weren’t you? Everyone was worried. But the Parade will still continue from here on out. I’ll say again:

The Parade goes on,” said Hoshino.

After him was Imai. “Life sure is unforgiving, huh? So dramatic it’s almost hilarious. But it isn’t funny. Hell, you really died. Huh? It’s okay, because we can go on. We’ll go together,” he said to a loud round of applause. “Acchan’s died but there’s nothing wrong with that. It’s just a fact of life. So we may be sad, we may cry, but don’t agonise over it. Rather than focus on his death, that he’s not here anymore, instead cherish the fact that he lived, that he existed with us in the same space,” he went on. “Next year, BUCK-TICK will make new music, and a new album. It’ll be the newest, bestest BUCK-TICK so please look forward to it. But please be prepared. Next, we’ll be three. But even then, the Parade continues. Then it’ll be two, then one, I think I’ll probably be the last one standing. And even then, we can keep going, so I want to take everyone along,” finished Imai with this powerful statement.

After that, they moved on to flying the words “LOVE” and “PEACE” high in Eureka before going into LOVE ME which began with Sakurai’s MC where he said, “Everyone, let’s love ourselves.” It was here when a hiccup happened for the first time where Sakurai’s singing and the video footage differed from the four members’ live playing. The band looked determined to find some way to turn this around. It was the most human expression I had ever seen on them.

Coincidentally, Sakurai in the video also seemed to have a bit of a bitter smile on his face. Even though anxious, the audience also tried their best to help by singing the chorus with all their strength. When the singing ended, the playing did too in perfect timing, and we saw Sakurai off the stage as he waved, saying, “See you soon. We’ll meet again. For sure.”

The last two songs were COSMOS and Na mo Naki Watashi; what seemed to be a deliberate choice of two songs which massively filled the hall with messages from Sakurai. And the second encore, started with Sakurai’s words of “Let’s go! Into the future!” as the band leapt into New World. The light from countless mirror balls spread throughout the venue and the powerful light of the five’s performance brightly illuminated a future yet to be seen.

After the show, past music videos were shown on the screen, followed by an announcement that they will be holding a concert at the Nippon Budokan on Sunday, 29 December 2024. I believe every single promise like this one would become the hope which leads into the future going forward. BUCK-TICK has walked into unprecedented territory. I hope to continue enjoying the Parade led by this band who has decided to continue forward as five. Because it’s always BUCK-TICK who stirs our hearts with surprise and emotion.

Although we can wipe away the tears
we will never be able to wipe away the loneliness, so
let’s go and see BUCK-TICK again
in a place where we can share our sorrows and joys
let’s go and see BUCK-TICK again

 

BUCK-TICK Genshou -2023-
Date/Time: Friday, 29 December 2023  Doors open 17:30, show starts 18:30
Venue: Nippon Budokan

【SET LIST】

SE. THEME OF B-T

1. Shippuu no Blade Runner
2. Dokudanjou Beauty-R.I.P.-
3. Go-Go B-T TRAIN
4. GUSTAVE
5. FUTURE SONG – Mirai ga tooru –
6. Boogie Woogie
7. Itoshi no Rock Star
8. Sakura
9. Lullaby-III
10. ROMANCE
11. Django!!! – Genwaku no Django –
12. Taiyou to Icarus
13. Memento mori
14. Muma -The Nightmare
15. DIABOLO

＜EN1＞

1. STEPPERS -PARADE-
2. Eureka
3. LOVE ME
4. COSMOS
5. Na mo Naki Watashi

＜EN2＞

1. New World

 

 

 

 

Translation: Yoshiyuki
Source: JVC Music

 

DER ZIBET | [20 Jan 2024] DER ZIBET Tribute Album Production Project

Posted on by Yoshiyuki

Passing Stories to the Next Generation～
In Memory of Illustrious Rock Poet ISSAY
DER ZIBET Tribute Album Production Project

Motion Gallery

Presented by
DER ZIBET Tribute Project

From 20 January 2024 to 29 February 2024
Funding goal: 5,000,000 yen
Pledged amount: 11,248,218 yen
No. of backers: 870

Crowdfunding page: https://motion-gallery.net/projects/DERZIBET

Related posts:
※DER ZIBET Tribute Update Vol. 7: ISSAY—A Brother & A Kindred Soul by Chu-ya

 

 

The Project

This is a tribute album dedicated to ISSAY, vocalist of DER ZIBET who suddenly passed away last August. Funds are being raised for the production of a CD featuring many artists covering a collection of works which embody ISSAY’s soul, which the late Sakurai Atsushi is known to have adored.

To prevent proof that phenomenal artist ISSAY existed from fading away.

【A message from DER ZIBET Tribute Project】

We are made up of volunteers from the music industry who have been involved with DER ZIBET, and we have unequivocal reasons for forming this committee; because we feel strongly that ISSAY, the charismatic figure in the rock scene who died suddenly in an accident, and DER ZIBET, a band that continued to produce classic albums that inspired a wide range of musicians “cannot fade away just like that”, “needs a tangible memorial”, and that “there must be other musicians who share these feelings too”. Even if the life is scattered, the music will continue to resonate in the hearts of those who listen to it, and will continue to radiate an eternal luster. With mixed feelings of loss and determination, we set about planning this tribute album.

DER ZIBET：Left to right – MAHITO(Key.) HAL(B.) ISSAY(Vo.) HIKARU (G.) MAYUMI(Dr.)

【The revolutionary vocalist, ISSAY】

Respected by scores of musicians including BUCK-TICK‘s late Sakurai Atsushi,  the well-loved ISSAY made his debut as DER ZIBET’s vocalist in 1985. Despite being described by the media as “a rock band ahead of their time”, the band was a significant influence on numerous of bands, including those which were later known as Visual Kei.

Penning beautiful lyrics which echo the perspectives of Mishima Yukio and The Doors’ Jim Morrison, he was aptly nicknamed the “rock poet”, bringing affirmation to those living with loneliness and alienation.  Incorporating pantomime (which he studied under Mochizuki Akira since his teens) in his performances, it could be said that ISSAY was a “revolutionary” of the music scene.

Before he debuted with DER ZIBET, he starred in director Macoto Tezuka’s first theatrical film “The Legend of the Stardust Brothers” as an actor. Even on screen, his strong personality came through, and in recent years, he also acted in “Tezuka’s Barbara” which starred Inagaki Goro and Nikaido Fumi. The late director Obayashi Nobuhiko also recognised his talent, describing him as a “phenomenal artist”.

【Okano Hajime; the producer of the tribute album】

Producing this album is Okano Hajime, who worked on the past two DER ZIBET releases and has worked with many other artists like L’Arc～en～Ciel. Alongside him is Koni-young (one of Japan’s top sound engineers who worked with the late Imawano Kiyoshiro, BUCK-TICK, LUNA SEA and many more) who will take on the role of main sound engineer.

Numerous musicians have come forward with love and expressed their interest in participating.  Now, we are working on the living testimony of the legend ISSAY and the multifaceted and original songs of DER ZIBET, which celebrates its 40th anniversary this year, to ensure that they all carry on into the future.

What kind of chemical reactions will be born from this unprecedented combination of musicians? (List will be updated as and when on this website and on the official X account @DZ__TP)

The tribute album, ISSAY gave life to FLOWERS – TRIBUTE to DER ZIBET – (working title) is slated for release on the 6th of July, ISSAY’s birthday. Our goal is to create a tribute album beyond anyone’s expectations. (※To be released under the POP MANIA label presided by DER ZIBET)

We would like to bring this album to fruition together with those who are interested in this project, and everyone who has been supporting [the band] throughout all this time. Everyone’s help will be greatly appreciated. We thank you in advance.

※FOOL’S MATE channel archive series: From the premium one-man live show A day before 35th trip, organised by DER ZIBET in collaboration with FOOL’S MATE channel, timed to coincide with the 35th anniversary of their debut.

 

I first got to know ISSAY when he acted in the movie The Legend of the Stardust Brothers as NIji Kaworu. Later on, he let me listen to the music he made with his own band, DER ZIBET and I was blown away by their musicality and execution. Even now, I can’t forget how I tried all ways and means wanting to help them make their major debut. This all happened before the genre that is Visual Kei came about. It’s clichéd, but he was a man ahead of his time. As an old friend of his, I am indeed glad that so many musicians have voiced their support for this project to produce the tribute album.

— Chikada Haruo

Celebrated musicians across generations are participating!

【The tribute album to commemorate ISSAY will involve over 40 musicians】

To start, we have ZIGGY’s Morishige Juichi (vocalist), RED WARRIORS’ DIAMOND☆YUKAI (vocalist),  Kogure “SHAKE” Takehiko (guitarist), and PERSONZ’s Honda Takeshi (guitarist) who are all contemporaries of DER ZIBET.

Also participating are AUTO-MOD’s GENET and now FAR-EAST PHALLUS KICKER’s Chu-ya, both of which are close friends with whom he had regularly held events with in recent years, as well as Chiwaki Mayumi (vocalist) who ISSAY had been friends with since pre-debut, and Fukuhara Mari (pianist) who worked with him in the unit, ISSAY meets DOLLY.

Adding on is a strong group of musicians led by michiaki (Ra:iN/bassist) who are part of the sessions which ISSAY regularly holds at live house Club Sensation in Yokohama.

We also have his juniors, D’ERLANGER’s kyo (vocalist), SOPHIA’s Matsuoka Mitsuru (vocalist)who had been inspired by him since he was in his hometown of Osaka pre-debut, and ZEPPET STORE’s Kimura Seizi (vocalist & guitarist) who first came to Tokyo with a DER ZIBET single.

The list grows with cali≠gari‘s Sakurai Ao (guitarist) and Ishii Shuji (vocalist), Matarow (drummer) & Yonezawa Seiichirou (guitarist) who were members of Lynx which ISSAY formed with the late HEATH (bassist) of X JAPAN during DER ZIBET’s hiatus, and Kaya (vocalist) who has left a comment below. Updates on participating artists will be provided as and when going forward.

Too soon has ISSAY left for heaven. I hope that everyone will support this new interpretation of ISSAY’s world from musicians who adore him. I sincerely hope for the successful completion of this tribute and that the original work will be released in the near future.

— Chiwaki Mayumi

【Participating Musicians ※in no particular order】

Shimoyama Jun (ROCK’N’ROLL GYPSIES, ex. THE ROOSTERZ/Guitarist)

“CRAZY” COOL-JOE (ex. DEAD END/Bassist)

Kamiryo Wataru (NeoBallad/Drummer)

Sumida Takeshi (VooDoo Hawaiians/Guitarist)

Louie (Rose Noire/Violinist)

Tsuchiya Masami (Guitarist)

MORRIE (Vocalist)

Hirose Satoshi (44MAGNUM, ex. Φ/Guitarist）

PATA (X JAPAN, Ra:IN/Guitarist)

SUGIZO (LUNA SEA, X JAPAN, THE LAST ROCKSTARS, SHAG/Violinist)

Ken-ichi (Valentine D.C., VERTUEUX/Vocalist）

Yukino (krishnablue, ex. AUTO-MOD/Guitarist)

Umeda Kazuya (BEAST, nüe, fromDER ZIBET/Drummer)

Keith Yokohama (Demi Semi Quaver, Rock’n roll Big Band The Thrill, エロヒム, Devil Dalipop/Bassist)

Hoppy Kamiyama (“GOD MOUNTAIN” label, arranger, producer/Keyboardist)

Morishige Juichi (ZIGGY/Vocalist)

DIAMOND☆YUKAI (Diamond Shake, RED WARRIORS/Vocalist)

Kogure “SHAKE” Takehiko (Diamond Shake, RED WARRIORS/Guitarist)

GENET (AUTO-MOD/Vocalist)

Chu-ya (ALLERGY, De-LAX, LOOPUS, FAR-EAST PHALLUS KICKER /Vocalist)

Chiwaki Mayumi (Vocalist)

Honda Takeshi (PERSONZ , Effectric Guitar/Guitarist)

Okano Hajime (Bassist)

michiaki (Ra:iN/Bassist)

Mikuni Yoshitaka (GENSHI-SHINBO 〜 PINK FLOYD TRIPS 〜/Keyboardist)

Kashiwabara Katsumi (GENSHI-SHINBO 〜 PINK FLOYD TRIPS 〜/Drummer)

SATOU MINORU (MINORUMOKY, ex. φ, ex. Fliction/Drummer) 

Emi Eleonola (Epf. & Ac.)

Fukuhara Mari (ISSAY meets DOLLY/Pianist)

DIE (Ra:iN, hide with Spread Beaver/Keyboardist & Programming)

kyo (D’ERLANGER/Vocalist)

Matsuoka Mitsuru (SOPHIA/Vocalist)

Kimura Seizi (ZEPPET STORE/Vocalist & Guitarist)

NARASAKI (COALTAR OF THE DEEPERS/Guitarist & Track)

Ishii Shuji (GOATBED,  cali≠gari/Vocalist)

Sakurai Ao (cali≠gari, L.TB, hector/Guitarist)

Yamahana Asaki (AGE of PUNK/Guitarist)

Hashizume Akito (the superlative degree, HUSH, ex. ALL I NEED/Vocalist)

tezya (tezya & the sightz, Euphoria, ex. FiX/Vocalist)

michi. (MASCHERA, S.Q.F, ALICE IN MENSWEAR/Vocalist)

Kaya (Vocalist)

Arase Dai (dieS/Vocalist)

Yonezawa Seiichirou (W.A.R.P., the superlative degree, HUSH, ex. Lynx /Guitarist)

JUN (Valentine D.C./Bassist)

RIKIJI (OBLIVION DUST/MOCD!/Bassist)

Nakanishi Tomoko (Ulful Keisuke Band, SION’S SQUAD/Bassist)

Minato Masafumi (ex.  DEAD END/Drummer)

Koseki Sumitada (MATILDA RODRIGUEZ/Drummer)

Matarow (ex. Lynx/Drummer)

Jill (Rose Noire, Unlucky Morpheus/Violinist)

Dantoudai no MELODY（participating as a band）
・Vocalist YUTAKA (Kneuklid Romance)
・Guitarist Ogasawara Kenichi (Kneuklid Romance)
・Bassist Ryo-Ta
・Drummer HIME

MAHITO (DER ZIBET/Programming)

 

Far away, Have your way, the wind sings
The stars, the clouds, and the woods watched you
When you were at your most beautiful, you wounded little thing

It was 1994. I was all about LUNA SEA and BUCK-TICK when a friend introduced Der Zibet to me, saying, “There’s this amazing band”. The cover of HOMO DEMENS left a strong impression on me, and knowing that ISSAY-san was featured in the aesthetic magazine JUNE which I secretly loved reading as an influence by my older sister, I was bursting with interest when I excitedly purchased “Nire no Ki no Ue”. Delicately beautiful lyrics and music, and that voice unlike any other. Addicted in a moment, I’ve been infatuated ever since. Later, I came to know lots of Der Zibet’s wonderful music, but ultimately, the best one of all to me has to be “Nire no Ki no Ue”. The melody, the music, the lyrics, the voice. It is a lovely piece of music filled with strong emotions. And it will definitely continue to be, forever.

— Kaya

 

Crowdfunding page: https://motion-gallery.net/projects/DERZIBET

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_______________________

Backer Rewards

【Basic tier】(common to all tiers)

1. Everyone’s names will be credited in the DER ZIBET tribute album which is slated to be released on 6 July, and will be dispatched for delivery about 2 weeks ahead of that.

2. Production diary e-newsletter distribution 〜 In order allow all backers to follow the progress of the production closely, Itoharu or “the middle man”, who is in charge of production and was a member of the initial DER ZIBET staff, will provide detailed reports in the newsletter.

 

DER ZIBET T-shirt

Album covers of all 19 (+1) of their original works including the 12-inch release “Girls” from their first album, “Violetter Ball” arranged in a lizard-shaped collage.

On the back is the tribute album title and all of the participating musicians along with the five members of DER ZIBET in alphabetical order.

Sizes up to 3XL are availble. Measurements are as follows:
(length, width, shoulder width, sleeve length)
S　66cm　49cm　44cm　19cm
M　70cm　52cm　47cm　20cm
L　74cm　55cm　50cm　22cm
XL　78cm　58cm　53cm　24cm
2XL　82cm　61cm　56cm　26cm
3XL　84cm　64cm　59cm　26cm

ISSAY T-shirt

Photo of ISSAY by Masaaki Otake in 1985 at debut.

Text on the back:
ISSAY
1962.7.6 – 2023.8.5

Sizes up to 3XL are availble. Measurements are as follows:
(length, width, shoulder width, sleeve length)
S　66cm　49cm　44cm　19cm
M　70cm　52cm　47cm　20cm
L　74cm　55cm　50cm　22cm
XL　78cm　58cm　53cm　24cm
2XL　82cm　61cm　56cm　26cm
3XL　84cm　64cm　59cm　26cm

DER ZIBET Silver Cross ＆ISSAY Lizard

A plate engraved with DER ZIBET sits behind the cross while the cross is engraved with ISSAY. Comes with a 50cm chain. Your name can be engraved on the back of the removable lizard (up to 6 English characters).

Made by Big Black Maria.

Dimensions:
Cross: Length 42mm / Width 22mm
Lizard: Length 30mm / Width 16mm

DER ZIBET Cross ＆Lizard w/ Diamond inlay

A diamond will be in-laid in the middle of the cross. Comes with a 50cm chain, name engraving on the lizard.

Made by Big Black Maria.

DER ZIBET Cross & Lizard w/ Big Ruby (ISSAY’s birthstone) inlay

A ruby, ISSAY’s birth stone will be in-laid in the middle of the cross. Comes with a 50cm chain, name engraving on the lizard.

Made by Big Black Maria.

【Outfits worn by ISSAY have been provided as backer rewards】

On this occasion, the person in charge of making and storing all of ISSAY’s outfits over these years have provided the following pieces which he used to wear with the words, “I hope they can contribute to the album production costs.” It is his hope that they will go to only those who will take good care of them. Please do not purchase them for the purpose of reselling. If anyone finds these pieces being put up for resale, please contact @DZ TP . With your help, we believe that we will be able to prevent such acts from happening.

Each outfit will go on a “first-come, first-served” basis. We hope for your understanding on this matter.

Black Glitter  Long Coat　①

Material: Glittery fabric

Detail: Similar to a velvet coat, except that pleats are concentrated in three areas at the back. Made with a light-weight material.

“Often worn for gigs, shoots, and many occasions. Commonly paired with a feather boa. The long coat series is a favourite style and eight pieces had been made, including those for everyday wear. The material of this coat in particular is light and reflective, so it creates a cyber-like atmosphere on stage. ISSAY also particularly liked wearing a feather boa with it.”

— ISSAY’s Costume Designer

Velvet Long Coat (Black / Purple) ②③

Material: Crushed velvet

Detail: Deep breeches at the centre and sides of the back to create a fuller look when moving.

“Made around 2009 when ISSAY started keeping his hair long. Frequently worn at various gigs, in photographic collections, as a model for paintings, etc. Inspired by the coat Julia Roberts wore over her dress in the movie Mary Reilly (adaptation of Dr Jekyll and Mr Hyde). The way her coat spreads wide in the scene where she walks through the storm is breathtaking, and I made the coat wondering if it could be recreated on stage. Stretched out, the hems are almost five meters in length which creates a significant effect when the coat is lifted or fluttered during a performance.

— ISSAY’s Costume Designer

Black Tuxedo with Wide Trousers (3-piece) ④

Material: Shiny velvet

Detail: Satin material on the collar, cuff folds and buttons. Cuffs were made to make the sleeves look finer on the whole.

“Worn frequently at gigs since June 2019. The jacket of the wide trouser suit has been modified a little bit since 2017 and about 10 of them have been made for everyday wear. Unlike fitted trousers, ISSAY liked the way these swayed when he moved on stage. The jacket is a tuxedo jacket which makes it even more special as a costume.

— ISSAY’s Costume Designer

Niji Kaworu  White Leather Jacket ⑤

The legendary white leather jacket which ISSAY wore when he played the character of Niji Kaworu in Macoto Tezka’s first theatrical film, The Legend of the Stardust Brothers which was 40 years ago shot in 1984 and released in 1985.

An item which was in the safekeeping of ISSAY’s Costume Designer (brand: NORIKO KAZUKI, has age-related wear and tear). Director Tezka even said in the video comment that he’s considering buying it. Will there be a battle to own this?!

The Count  Red 3-Piece Suit ⑥

Material: Polyester satin

Shirt: Wing collar cotton shirt.

Boots included as a set

First worn during a one-man gig on 22 November 2022. It was later worn a number of times too. Made entirely in red to mark his 60th. The combination of different materials and colours, such as the satin collar of the jacket, the colour of the shirt and the colour of the ascot tie, are details of note.

— ISSAY’s Costume Designer

The Count  Black 3-Piece Suit (Cesare) ⑦

Material: Wool satin

Shirt collar: Wing collar

Detail: Long jacket, waistcoat and slacks combination with satin on part of the collar, original ascot tie and pin.

Date of production: Early 2000s

Worn at gigs, artist and magazine photoshoots, and also worn as a costume for Cesare Ito (チェザーレ伊東), ISSAY’s character in the movie, The Brand New Legend of the Stardust Brothers. References the costume Gary Oldman wore in Coppola’s adaptation of Dracula (Bram Stoker’s Dracula). Made during a period when a lot of outfits were made and inspired by movies. At the time, I watched the video over and over again and faithfully recreated every detail, including the shape and size of the jacket collar and the way the satin was combined.

— ISSAY’s Costume Designer

Tiers:

Basic tier (6000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet as special thanks credit ×1 name
  • Production diary e-newsletter ×1

 

DER ZIBET 40th Anniversary Tier (11,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1

 

FOR OVERSEAS【CD + shipping】(11,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet as special thanks credit ×1 name
  • Production diary e-newsletter (in Japanese) ×1

 

DER ZIBET 40th Anniversary + ISSAY T-shirt Tier (16,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1

 

FOR OVERSEAS【CD + DER ZIBET Tee + shipping】(16,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet as special thanks credit ×1 name
  • Production diary e-newsletter (in Japanese) ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1

 

FOR OVERSEAS【CD + DER ZIBET Tee + ISSAY Tee + shipping】(21,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter (in Japanese) ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1

 

Silver Cross Tier (36,000 yen) — Same price for overseas

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET Silver Cross (with 50cm chain and name engraving on ISSAY lizard) ×1

 

Silver Cross & 2 T-Shirts Tier (46,000 yen) — Same price for overseas

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1
  • DER ZIBET Silver Cross (with 50cm chain and name engraving on ISSAY lizard) ×1

 

Cross w/ Diamond Tier (46,000 yen) — Same price for overseas

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET Silver Cross w/ Diamond (with 50cm chain and name engraving on ISSAY lizard) ×1

 

Cross w/ Diamond & 2 T-Shirts Tier (56,000 yen) — Same price for overseas

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1
  • DER ZIBET Silver Cross w/ Diamond (with 50cm chain and name engraving on ISSAY lizard) ×1

 

Cross w/ Ruby Tier (56,000 yen) — Same price for overseas

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET Silver Cross w/ Big Ruby, ISSAY’s birth stone (with 50cm chain and name engraving on ISSAY lizard) ×1

 

Cross w/ Ruby & 2 T-Shirts Tier (66,000 yen) — Same price for overseas

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1
  • DER ZIBET Silver Cross w/ Big Ruby, ISSAY’s birth stone (with 50cm chain and name engraving on ISSAY lizard) ×1

 

☆Limited to 1☆ ISSAY’s Custom-made Outfit ① Black Glitter  Long Coat Ultimate Tier (350,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1
  • DER ZIBET Silver Cross w/ Big Ruby, ISSAY’s birth stone (with 50cm chain and name engraving on ISSAY lizard) ×1
  • Worn by ISSAY himself, the custom-made Black Glitter Long Coat ×1

 

☆Limited to 1☆ ISSAY’s Custom-made Outfit ② Black Velvet Long Coat Ultimate Tier (350,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1
  • DER ZIBET Silver Cross w/ Big Ruby, ISSAY’s birth stone (with 50cm chain and name engraving on ISSAY lizard) ×1
  • Worn by ISSAY himself, the custom-made Black Velvet Long Coat ×1

 

☆Limited to 1☆ ISSAY’s Custom-made Outfit ③ Purple Velvet Long Coat Ultimate Tier (350,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1
  • DER ZIBET Silver Cross w/ Big Ruby, ISSAY’s birth stone (with 50cm chain and name engraving on ISSAY lizard) ×1
  • Worn by ISSAY himself, the custom-made Purple Velvet Long Coat ×1

 

☆Limited to 1☆ ISSAY’s Custom-made Outfit ④ Black Tuxedo with Wide Trousers (3-piece) Ultimate Tier (700,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1
  • DER ZIBET Silver Cross w/ Big Ruby, ISSAY’s birth stone (with 50cm chain and name engraving on ISSAY lizard) ×1
  • Worn by ISSAY himself, the custom-made 3-piece (wide trousers, tuxedo jacket, vest) ×1

 

☆Limited to 1☆ ISSAY’s Custom-made Outfit ⑤ Legendary Niji Kaworu White Leather Jacket Ultimate Tier (700,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1
  • DER ZIBET Silver Cross w/ Big Ruby, ISSAY’s birth stone (with 50cm chain and name engraving on ISSAY lizard) ×1
  • Worn by ISSAY, the Niji Kaworu White Leather Jacket (brand: NORIKO KAZUKI) ×1

 

☆Limited to 1☆ ISSAY’s Custom-made Outfit ⑥ The Count  Red 3-Piece Suit [7 items] Ultimate Tier (900,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1
  • DER ZIBET Silver Cross w/ Big Ruby, ISSAY’s birth stone (with 50cm chain and name engraving on ISSAY lizard) ×1
  • Worn by ISSAY, The Count  Red 3-Piece Suit [ + boots, shirt, ascot tie, tiepin) 7-item set ×1

 

☆Limited to 1☆ ISSAY’s Custom-made Outfit ⑦ The Count  Black 3-Piece Suit  Cesare [7 items] Ultimate Tier (1,200,000 yen)

  • Tribute album CD (releasing 6 July, pre-order price of 3,850 yen w/tax) ×1
  • Name printed in the tribute album CD booklet ×1 name
  • Production diary e-newsletter ×1
  • DER ZIBET 40th Anniversary T-Shirt (Black / S～３XL) ×1
  • ISSAY T-Shirt designed by JUN MISAKI (Black / S～３XL) ×1
  • DER ZIBET Silver Cross w/ Big Ruby, ISSAY’s birth stone (with 50cm chain and name engraving on ISSAY lizard) ×1
  • Worn by ISSAY, The Count  Black 3-Piece Suit [ + boots, shirt, ascot tie, tiepin) 7-item set ×1

 

All items are expected to be dispatched in June 2024.

＊To all overseas supporters: A flat rate of 5,000 yen for airfreight (EMS) is set for overseas shipment of rewards from tiers priced less than 36,000 yen (i.e. 6,000 yen, 11,000 yen and 16,000 yen tiers). For tiers priced at 36,000 yen and above, shipping costs will be covered.

 

Crowdfunding page: https://motion-gallery.net/projects/DERZIBET

 

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_______________________

Risks & Challenges

【Use of funds raised】

The money raised through your support will be used to fund the production of the tribute album. The money will be used in the following ways:

◎Covering recording costs which include music production, rehearsal, studio and mastering costs for over 40 participating musicians.

◎Covering project-related expenses of the musicians and staff

◎Artwork production and pressing costs for the album

◎Covering costs of producing flyers announcing crowdfunding and album release announcements

◎Production and shipping of backer rewards

◎MOTION GALLERY fees

All backers of this project will receive an income and expenditure report via e-mail at a later date.

【Schedule from production to dispatch】

◆End February ～ Early April　Recording

◆Early April ～ End April　Mixing

◆Early May　Mastering

◆Mid May　Completion of album artwork, placement of pressing order

◆Early June　Receipt of CDs and other backer rewards

◆Mid June　Dispatch of backer rewards to all supporters

◆6 July　Album will be released and available for purchase at CD shops nationwide, and online stores like Amazon

【Potential Risks】

The challenge will be production funding (all in), so even if the target amount is not reached, we will make up the shortfall with our own funds to implement the project and deliver the merchandise. Please do not worry; we promise that the precious money you send us with your thoughts and wishes to produce a tribute album will be used as such.

 

 

 

 

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_______________________

Afterword

Thank you for taking the time to read through this long presentation.

With the funds raised, we hope to create an opportunity to commemorate ISSAY by producing a highly polished album, and to pass DER ZIBET down to the next century as artists who left a noteworthy mark on the Japanese rock scene.

Please do support us in this endeavour. Thank you.

DER ZIBET Tribute Project  Itoh Haruhisa (ITOHARU)

 

 

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Translation: Yoshiyuki
Source: https://motion-gallery.net/projects/DERZIBET

BUCK-TICK | [5 Jan 2024] Ongaku to Hito: BUCK-TICK Genshou 2023 Concert Report

Posted on by Yoshiyuki

 “BUCK-TICK will always be we five.”
A Declaration of the Parade’s Continuance

Ongaku to Hito
5 January 2024

Text ＝ Ishii Eriko
Photos ＝ Seitaro Tanaka

 

【LIVE REPORT】
BUCK-TICK “BUCK-TICK Genshou -2023-” (BUCK-TICK Phenomenon 2023 / バクチク現象-2023-)
2023.12.29 at the Nippon Budokan

 

 

“My sincere thanks to all of you for making your way to the Budokan despite the uncertainty. …… You were worried, weren’t you?”

These words which came from Hoshino Hidehiko during the encore resonated tremendously with me. Ah, I see. We’ve all been worried up until this day.

The annual year-end Nippon Budokan show THE DAY IN QUESTION 2023 was suspended and in its place, the concert BUCK-TICK Genshou -2023- was announced. The strong words “Come, let’s get started一一 (さあ、始めよう一一)” danced on the event’s dedicated website but it wasn’t clear exactly what on earth was starting. Do we really want to see a BUCK-TICK with no Sakurai Atsushi? Is it better for things to end like this? Or would someone stand on stage as another vocalist? Questions which no one can say a definitive “yes” to constitute this worry.

An unprecedented concert. At first, everything felt rigid. Cheers didn’t sound when the lights turned down. Instead, breathless voices could be heard all throughout the venue. Even when Imai Hisashi hollered, “Come let’s get started, we’re BUCK-TICK!”, it was clear to me that he was tense and a little over-anxious. Sakurai’s singing echoed in synchrony with the live music. Much of it was live singing including MCs and hyping the audience up. The screen showed footage of only Sakurai in past concerts in colour, and at the same time, the current stage was shown in monochrome; a contrast between the flamboyant demon king and reality in mourning. In all honesty, I don’t know whether I should be enjoying myself. Was that the purpose of this day?

It was in the fifth song, FUTURE SONG -未来が通る- when I noticed something different. It starts with Imai’s part, then during Sakurai’s part, Hoshino joins in too. Sakurai’s footage doesn’t appear in this song where the two guitarists sing, “Don’t be hold back, do not fear　Forward!　It’s the future (hiku na hirumu na　susume　mirai da / 引くな怯むな 進め 未来だ)”. For a moment, I thought they might be headed in a direction similar to how the remaining members of Joy Division regrouped as New Order following the death of Ian Curtis. But again, that doesn’t seem to be the main subject of the day.

Suddenly, an old music video from the time when they styled their hair standing up came up towards the middle of the show. It was Itoshi on Rockstar. It’s hard to imagine why the band selected this 1995 song which was sung alongside DER ZIBET’s ISSAY. Just before Sakurai left us, almost as if to follow ISSAY who also suddenly passed last summer, I wanted to ask him if he looked back fondly on this song which he once sang so self-deprecatingly. Of course, that is now a question we’ll never get the answer to.

Instead, what we have is an extensive record. Just what we needed was footage from Yagami Toll’s 60th birthday celebration event. I couldn’t help but laugh dryly at how in love they were as I watched Sakurai exchange mushy gazes with ISSAY while they performed that song together for the first time in 27 years. Everyone loved the way their two souls resonated with each other. Even if the both of them have coincidentally gone to heaven together, it’s oddly touching. As those thoughts crossed my mind, I suddenly caught on that we should hold a proper farewell. There was a memorial event for Sakurai himself, but I wondered how many times could we hold appreciation events for our favourite “beloved rockstar (Itoshi no Rockstar)” with all the videos and lights and music? I suppose the very first of these is happening right here, now.

The lead into the next song, Sakura was perfect too. The song which Sakurai dedicated to his dearest mother is now being dedicated to Sakurai by the band. The performance was as elegant as it could’ve been. The light cherry blossoms framing the monochrome screen, the pale pink colour of the Budokan’s white ceiling, and the image of the moon slowly filling up as the song progressed to become a gentle full moon at the end; all of it illustrated the depth of love in the production. Adding on, during Imai’s improv, Sakurai’s often-used candelabra was lit before they continued into Lullaby-III, followed by an exquisite transition into ROMANCE.

ROMANCE; a popular song which BUCK-TICK had often performed since it’s release in 2005, is one of the songs in their discography which BUCK-TICK most strongly demonstrates “the alluring colours of Sakurai”. The perfection in this song lies in the blend of goth and romance. Holding a candelabra in one hand while dancing with flickering flames in the tantalising dream that is performance footage from over a decade ago. Watching it again in the Budokan gives me the feeling that his existence is probably not the be-all and end-all. Because we have something so beautiful that has been left behind for us [to enjoy] even now. Isn’t this miracle alone sufficient?

The split second in the brilliantly-lit Taiyou to Icarus video which showed Sakurai’s silhouette with his arms spread wide was as vibrant as the 異空-IZORA- tour; so dazzling that you could’ve thought it was a “festival”. In addition, Memento Mori with flames bursting out always sounds like blood-pumping festival music. The screen is divided into three sections, with past footage of Sakurai in the centre and real-time footage of the four members of the band on either side. But the difference between presence and absence, which was initially divided between monochrome and colour, is no longer there at this point. The refrain of “Life is love and death (jinsei wa ai to shi / 人生は愛と死)” strikes our hearts deep now. If these are our only options, we’ll take them both. Before I knew it, I even started to feel a desire to laugh out loud in defiance.

The band spoke about how they currently felt during the encore. While each of their words were different, the summary of it was that BUCK-TICK will always be five people even if Sakurai is no longer physically around, that they wanted to keep going as long as there are fans around, and that although they don’t know how it’ll turn out, next year, they will start recording something new as the second phase of B-T. Hoshino even twice declared, “The Parade goes on.” And even as Imai bit back curses with words like, he said, “We may be sad, we may cry, but don’t agonise over it.” I hadn’t thought about it, but maybe that’s what I wanted to hear the most. He’s always been the person who throws one-liners like these out of nowhere. On a whim, I recalled something Sakurai once said with a straight face: “It’s possible because Imai’s like that.”

If Imai-san says so, then it will go on. BUCK-TICK will go on with Sakurai’s afterimage. This was a night that convinced me that’s fine and good. The announcement that came at the very end was good tidings for the future. On 29 December 2024, a BUCK-TICK concert at the Nippon Budokan will happen一一

【SET LIST】

SE. THEME OF B-T

1. Shippuu no Blade Runner
2. Dokudanjou Beauty-R.I.P.-
3. Go-Go B-T TRAIN
4. GUSTAVE
5. FUTURE SONG – Mirai ga tooru –
6. Boogie Woogie
7. Itoshi no Rock Star
8. Sakura
9. Lullaby-III
10. ROMANCE
11. Django!!! – Genwaku no Django –
12. Taiyou to Icarus
13. Memento mori
14. Muma -The Nightmare
15. DIABOLO

ENCORE01

1. STEPPERS -PARADE-
2. Eureka
3. LOVE ME
4. COSMOS
5. Na mo Naki Watashi

ENCORE02

1. New World

_____________________________________________________________________________

LIVE INFORMATION
Sunday, 29 December 2024　Nippon Budokan
Doors open 17:00 / Show starts18:00
Designated seating: ¥11,000 (w/ tax)
(Inquiries) SOGO TOKYO 03-3405-9999

〈Advance Ticketing Information〉
■W-members advance ticketing applications
Application period: 22:00, Friday, 29 December 2023 ～ 14:00, Monday, 22 January 2024
※Applicants must be registered as a member of both the official fan club [FISH TANK] and the official mobile website [LOVE & MEDIA PORTABLE].
※Registering companions must also be W-members

■Fan club members advance ticketing applications
Application period: 12:00, Monday, 29 January 2024 ～ 14:00, Tuesday, 13 February 2024
※Registering companions do not need to be members

■Mobile members advance ticketing applications
Application period: 12:00, Monday, 19 February 2024 ～ 14:00, Tuesday, 5 March 2024
※Registering companions do not need to be members

 

Event Website
BUCK-TICK Official Website

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito Online

 

BUCK-TICK | [29 Dec 2023] Sports Hochi: BUCK-TICK “will always be five”, first live show since Sakurai Atsushi’s sudden death

Posted on by Yoshiyuki

BUCK-TICK “will always be five”

Sports Hochi
29 December 2023

text by Kamo Shintaro

first live show since Sakurai Atsushi’s sudden death
10,000 people crying at the annual Budokan show

 

Rock band BUCK-TICK whose vocalist, Sakurai Atsushi (aged 57) passed away from a brainstem haemorrhage on 19 October held their first show, also their annual year-end solo concert at the Nippon Budokan in Tokyo on the 29th. They performed 21 songs “in memoriam” during the two and a half hour show.

71 days after his sudden passing, scenes from days when Sakurai was around were put up on the big screen. A spotlight lit up his “usual spot” in the centre of the stage as Imai Hisashi, Hoshino Hidehiko, Higuchi Yutaka, and Yagami Toll played the melodies while feeling the presence of their friend with each memory.

After the death of Sakurai-san, all their scheduled concerts were cancelled but after much consultation between the staff and the members of the band, it was decided in November that they will hold only one show at the Nippon Budokan. The concert name was changed from the traditional THE DAY IN QUESTION to BUCK-TICK Gensho (バクチク現象 / BUCK-TICK Phenomenon), a name which is usually used to mark a turning point for the band.

“Come, let’s get started. We’re BUCK-TICK!” The show kicked off with a declaration from Imai. They used live footage from past shows for the singing. A wide variety of 21 songs spanning tracks from their early days like LOVE ME and Sakura to tracks from their those album like Taiyou to Icarus and Na mo Naki Watashi was performed. All the tickets, including standing spaces, were completely sold out.

After the encore, the four members spoke about how they were feeling. Imai said, “Rather than focus on his death, that he’s not here anymore, instead cherish the fact that he lived, that he existed with us in the same space.” And Higuchi promised, “Although Acchan has gone to heaven, BUCK-TICK will always be five.”

When the concert ended, they announced that they would hold a show on 29 December next year at the Nippon Budokan. They will certainly continue in Sakurai-san’s spirit and keep moving forward. (Kamo Shintaro)

 

【Comments from the members after the encore】

Higuchi Yutaka, bassist:
Thank you for gathering here today in such large numbers. Thank you to all our fans from around the country who couldn’t make it today. Thank you to all the staff who made such a (wonderful) show possible despite the limited time. After making our debut, we managed to tour and enjoy concerts with many of you. BUCK-TICK is a live band so I believe we grew through our live shows. And it’s also something that’s created together with everyone of you. Although Acchan has gone to heave, BUCK-TICK will always be five. I don’t know what kind of future it will be, but one thing I know for sure is that we’ll continue as BUCK-TICK with everyone. Going forward, let’s continue to build upon the BUCK-TICK that everyone has always cherished throughout this time together… We’re counting on you.

Yagami Toll, drummer:
You could say it’s unprecedented, the situation it’s turned out to be. Should we continue, or is it better to stop? We gave it a lot of thought. Given that we have all of you fans like this… we would like to keep going. There’s no telling how things will turn out, but I believe we’ll start recording a new album next year. I think there are still thousands of melodies and ideas sleeping in the brains of Imai and Hoshino HIdehiko. Please look forward to it. From here on, we’ll continue to rely on your support for this second phase of BUCK-TICK.

Hoshino Hidehiko, guitarist:
We managed to take a new step forward today. My sincere thanks to all of you for making your way to the Budokan despite the uncertainty. You were worried, weren’t you?　Everyone was worried. But I’ll say again: the Parade (i.e. concerts) will still continue from here on out. The Parade goes on.

Imai Hisashi, guitarist:
Life sure is unforgiving, huh? So dramatic it’s almost hilarious. But it isn’t funny. It’s death, after all.　It’s okay. Because (the band) can go on, right? We’ll go together. Acchan’s died but there’s nothing wrong with that. It’s just a fact of life. So we may be sad, we may cry, but don’t agonise over it. Rather than focus on his death, that he’s not here anymore, instead cheris the fact that he lived, that he existed with us in the same space. Acchan hasn’t yet gone to heaven. He’s still here. I believe he’ll always be together with us. Next year, BUCK-TICK will make new music, and a new album. It’ll be the newest, bestest BUCK-TICK so please look forward to it. (In future, even if our numbers dwindle) the Parade can keep going. I’ll probably be the last one standing. And even then, we can keep going, so I want to take everyone along. The 29th of December is a special day for BUCK-TICK. It’s a day to toast to. Shall we have a toast? Cheers! Thank you. Everyone, have a toast on your way home too and talk about BUCK-TICK, about Acchan.

 

 

Translation: Yoshiyuki
Source: Sports Hochi

 

BUCK-TICK | [Sep 2023] Ongaku to Hito: BUCK-TICK TOUR 2023 異空-IZORA- — Takasaki City Theater Concert Report

Posted on by Yoshiyuki

BUCK-TICK TOUR 2023 異空-IZORA-
2023.07.15 Takasaki City Theatre

Ongaku to Hito
September 2023

text by Kanemitsu Hirofumi
photographs by MASA

Your distortion; my love

Their national album tour has ended for now. In this tour, we got to see the band find themselves again and their revitalisation along with the perfection of their live concert. The final part examines what 異空-IZORA- was about from a live performance in their hometown, Takasaki.

 

 

On that stage was the immensity of Sakurai as a performer, the conviction of the true-to-life message
and a band who has recovered what’s precious to them

“My name is Hizumi
It’s Hizumi
All I do is wear my favourite clothes　put on my favourite makeup
But everyone laughs at me Even though I’m just living my life
Father, mother I love you
Thank you I love you Goodbye”

Hizumi; you could say it’s the highlight of the concert. The excitement sparked by MISTY ZONE was cooled in an instant by Kogoeru before leading into this song. Then, the world was overcast by Izora (異空). 

Possessed by “Hizumi-chan”, Sakurai began his monologue which sounded like words from a suicide note. And after a moment of silence, the song would start but on this day, the silence went on for a particularly long time. A minute, or no, an even longer stretch of stillness dominated the hall. It was only later that I found out that the delay was caused by equipment issues, but for those few minutes of silence, the audience waited with bated breath, without even the slightest of stirrings. At the same time, the motionless, crouched over Hizumi and the four other members of the band waited statue-like for their chance to start the song.

Those few minutes felt like an eternity. Therein lay the immensity of Sakurai as a performer, and the conviction of the true-to-life message. And also, a band who has recovered what’s precious to them in this tour.

BUCK-TICK TOUR 2023 異空-IZORA- started on 19 April. Their first show at Hachioji was stunning. In an interview, Imai said, “I composed QUANTUM Ⅰ because I thought  it’d be a good idea to start the concert with it.” This alone told me that they already had a solid vision since the beginning of the album’s production, and that the concert was bound to be something highly conceptual. 

The set up which spearheaded this did indeed begin with the curtains raising to QUANTUM Ⅰ and after the encore, the curtains were drawn to QUANTUM Ⅱ. And although there was a simple member introduction segment, there was as good as no MC. There wasn’t even a drum solo by Yagami on this day. This is a band I have watched live for many years, but this is the very first time they’re putting on a show in this style.

In an interview, Sakurai also revealed the existence of the protagonist known as “Hizumi-chan”, but whether it’s because it was the first day of the tour or because his intention was not quite clearly conveyed, there were members of the audience who even laughed. However, this conversely amplifies the loneliness of Hizumi, who has nowhere to belong, and comes across as a more realistic expression. It was a masterpiece. And since the whole thing is still disjointed, the impression each song leaves is even stronger.

Among those was die. Released 30 years ago, the inclusion of this track in the Izora tour as the last song of the main show connects it to all that BUCK-TICK has done thus far. It is proof that they have always been true to themselves on stage. I had nothing but great anticipation for how Izora would be performed and how it would grow in this tour.

So, the first half of the tour. They appeared to try out a format which had the drum solo followed by member introductions in their second show at Utsunomiya, but the show I caught in Kyoto only had a drum solo. Member introductions had been removed. The MC was also kept to a minimum. I suppose they took the approach of removing even the parts of the show that were typical of a concert in order to delve deep into the world of Izora.

Neither the setlist nor the pace changed. The only change which occurred was MISTY ZONE being replaced by ONCE UPON A TIME in the encore of the shows they played during their two days in Osaka, one day in Tokyo, and at Nagano and Hiroshima.

The choice of songs around Icarus was a stroke of genius. Also, the words, “I wonder what it was we were looking for／at the end of it all,” really hit home; they felt like an answer from Imai to the song Boogie Woogie, which looks back at the days when they used to tour from  one unfamiliar city to the next in a broken down vehicle. No matter how old they turn, or how much fewer words they exchange, their collective direction remains the same.

It’s obvious that a major theme of this tour was for the young girl living in a war from Sayonara Shelter and the despair that the LGBT community experiences à la Hizumi to overlap with Sakurai’s own inescapable emotional torment, and for it all to be presented on the stage that is Izora. 

Yet, at the same time, I got the feeling that with how the COVID-19 pandemic halted tours and even after tours came back, activities could not resume as smoothly as they should have due to restricted vocalisation, and also how the five members of the band couldn’t spend as much time together and were unable to do things the way they usual would during that period, it was important for the band to get back into their usual daily routine. It was a despair akin to that of the resignation in SCARECROW which sings about having nowhere to run; similar to how they were all stuck between a rock and a hard place.

Making us, as those living in the present, look to the future
By connecting this era of deprivation with the darkness in Sakurai’s heart
That’s the kind of album 異空 -IZORA- was

Perhaps it was this distant feeling that gave the Izora album its tension and fresh presentation. But also, perhaps, somewhere in there, they were looking for hope, for the band to come back together.

That’s exactly what defined the song Boogie Woogie, and I believe that Yagami’s decision to decorate his concert outfit with old, personal photos of the band members and their carefree smiles was also a sign of these feelings.

When Yagami stepped on stage for the encore on this day, he turned around and struck a pose with his back to the audience to show them the back of his shirt. As if to say that he carried the band’s feelings on his back. Just the five of them spending time together while touring around the country like they used to probably got him feeling that way.

Also, playing a show in their hometown of Takasaki might’ve also brought up all kinds of memories for them. After their Tokyo shows, they announced that they will be playing two shows at Gunma Music Centre to close off their 35th debut anniversary year. But although the audience capacity isn’t all that large, they probably chose this not-very-well-equipped-venue to close off their anniversary year, which started at Yokohama Arena last year, because it brings up memories of the band’s beginnings and their bond. That’s what I think.

And the inescapable despair of Hizumi versus the hope of Na mo Naki Watashi. A hope, no, perhaps a future. That’s right. Once again, like I wrote earlier, it made me feel that this Izora album makes us, as those living in the present, look to the future through connecting and channelling this era’s reality of deprivation with the darkness in Sakurai’s heart which was represented by Sayonara Shelter and Hizumi, as well as SCARECROW in this album.

By being in this band, he could find light in the darkness. That is exactly what he showed us in Taiyou to Icarus and CLIMAX TOGETHER. And this is a sight that we could’ve never seen if they didn’t go on tour. I believe the ones who probably feel this most strongly are the members of the band. Without a doubt.

 

I saw the band’s future. That’s the kind of show it was.

 

 

Translation: Yoshiyuki
Images: Yoshiyuki

 

BUCK-TICK | [24 Apr 2023] BARKS: BUCK-TICK’s 異空 -IZORA- Opening Day — Concert Report

Posted on by Yoshiyuki

【Concert Report】
the Opening Day of BUCK-TICK’s latest album’s National Tour

BARKS
24 April 2023

text by Okubo Yuka
photos by Seitaro Tanaka

 

BUCK-TICK held a concert at J:COM Hall Hachioji in Tokyo, kicking off the national tour BUCK-TICK TOUR 2023 異空-IZORA- for their latest album on 19 April. Here’s what happened.

 

 

On 12 April, when the flowers were in full bloom, BUCK-TICK released their new album 異空 -IZORA- which thrilled fans as their “latest and best” update. With this latest release, their nation-wide tour BUCK-TICK TOUR 2023 異空-IZORA- started on 19 April, at J:COM Hall Hachioji in Tokyo.

As the lights turned down and the first instrumental track of the album QUANTUM Ⅰ played, drummer Yagami Toll, bassist Higuchi Yutaka, guitarist Hoshino Hidehiko and guitarist Imai Hisashi came on stage one by one to the cheers and applause of the audience. Although the audience remained masked, this was to be the first tour in about 3 years and 4 months where the ban on audience vocalisations was lifted. When vocalist Sakurai Atsushi appeared centrestage, completing the band, the cheers grew ever louder. This is the moment everyone had been waiting for.

Showered in claps and cheers, the band performed freely like fish to water. With their white costumes and matching equipment, guitarists Imai and Hoshino who usually create a beautiful symmetry on stage looked like a pair of wings. Their two guitars would intertwine to sound one single heavy riff, or take light steps in pleasant unison. On the other hand, the  rhythm team of Yagami and Higuchi were dressed in black as they accompanied the songs with both soft, warm bass notes and emotional heavy rhythms.

And there was Sakurai who took many forms whenever he spread his arms; a scarecrow; an angel; an aircraft. What is it he wishes for with open arms? Is it forgiveness for holding a beloved child in gun-toting hands? Is it the acceptance of diversity? Is it LOVE&PEACE? All the protagonists depicted in 異空 -IZORA-’s songs are so intense that they take hold of Sakurai the moment the song’s intro begins. Every gesture and movement is filled with the power of each character’s emotions in each song; so beautiful, so raw.

This performance consisted mainly of songs from the 異空 -IZORA- album like Sayonara Shelter destroy and regenerate-Mix which had warmth added to it with the gorgeously articulated violin, Mugen LOOP -LEAP- which had an intro which sounded like a gathering of beautiful fragile bubbles of sound, and Boogie Woogie which Sakurai introduced as  “a story from over 35 years ago recreated using the latest technology”. 

As earlier described, all the songs were intense. I was curious to find out what older songs would be incorporated in here, and the final result was beyond anything I could’ve imagined. They create indescribable stories by fleshing out the 異空 -IZORA- songs and adding backstories to them. It was especially so after Taiyou to Icarus; a painful, tragic, gentle, yet beautiful world which seemed to encompass everything awaited.

As I watched the show, Sakura, a poem by Ibaraki Noriko, a poet who lived during the war suddenly came to mind. It describes the fragility and preciousness of human life by comparing it to that of a flower. BUCK-TICK sings: Together with life, “Now bloom in exuberance”. As I held dear this moment where I am enjoying their show, I wonder how many more times can I watch a BUCK-TICK concert, like how the poem asks how many times can we see cherry blossoms bloom in one lifetime.

The tour has just begun. How will the songs of 異空 -IZORA- grow in depth as this tour goes on from late spring to early and eventually mid-summer? And what kind of sky will each and every audience member find in their hearts by the time the final performance arrives on 23 July? This is a show that draws people to watch it again and again to find out how the story of this production will change. I hope to enjoy these shifting skies to the fullest.

 

_____________________________________________________________________________

 

Concert/Event Information
＜BUCK-TICK TOUR 2023 異空-IZORA-＞

Wednesday, 19 April 2023 — Tokyo: J:COM Hall Hachioji
Sunday, 23 April 2023 — Tochigi: Utsunomiya City Cultural Center, Large Hall
Saturday, 13 May 2023 — Kagawa: High Staff Hall, large hall (Kanonji City Meeting Hall)
Sunday, 14 May 2023 — Okayama: Kurashiki City Auditorium
Saturday, 20 May 2023 — Kyoto: ROHM Theatre Kyoto, main hall
Sunday, 21 May 2023 — Hyogo: Kobe Kokusai Kaikan Kokusai Hall
Saturday, 27 May 2023 — Kanagawa: Pacifico Yokohama National Convention Hall
Saturday, 3 June 2023 — Aichi: Japan Special Ceramic Industry Civic Center, Forest Hall (ex. Nagoya Civic Hall)
Saturday, 10 June 2023 — Ishikawa: Hondanomori Hall
Sunday, 11 June 2023 — Nagano: Nagano City Arts Center, main hall
Saturday, 17 June 2023 — Osaka: Orix Theater (ex. Osaka Welfare Pension Hall)
Sunday, 18 June 2023 — Osaka: Orix Theater (ex. Osaka Welfare Pension Hall)
Saturday, 24 June 2023 — Hiroshima: Ueno Gakuen Hall (Hiroshima Prefectural Culture and Arts Hall)
Sunday, 25 June 2023 — Fukuoka: Fukuoka Sunpalace Hotel & Hall
Saturday, 1 July 2023 — Hokkaido: Sapporo Kanamoto Hall (Sapporo Civic Hall)
Sunday, 9 July 2023 — Miyagi: Sendai Sun Plaza Hall
Saturday, 15 July 2023 — Gunma: Takasaki City Theatre, large theatre
Monday (holiday), 17 July 2023 — Shizuoka: Shizuoka City Culture Hall, large hall
Saturday, 22 July 2023 — Tokyo: Tokyo Garden Theatre
Sunday, 23 July 2023 — Tokyo: Tokyo Garden Theatre

Early bird tickets: 9,900 yen (w/ tax)
Tickets currently on sale

For more information, please visit the dedicated website:
https://buck-tick.com/feature/specialsite_2023tour

 

 

 

 

Translation: Yoshiyuki
Source: BARKS

 

DER ZIBET | [Jul 2017] Après-guerre Reissue Vol.5: Der Zibet — ISSAY + HIKARU

Posted on by Yoshiyuki

Der Zibet
ISSAY + HIKARU

Après-guerre Reissue Vol.5
July 2017

Since their reunion, Der Zibet continued activities with their unique stance and has now released 20 Seiki (20世紀 / 20th Century), a best-of album comprising of songs they released in the 20th century, as selected by the members of the band. There is no question that even those who have recently become fans will be able to enjoy their live performances even more after listening to this album. And to those who aren’t very familiar with them yet, I invite you to have a taste of their remarkable legacy.

 

PROFILE
Debuting in 1986, ISSAY’s presence and their one-of-a-kind band image and music won them an ardent following. Kirigirisu (キリギリス) was the last album they released before they ceased activity. 10 years passed before they reunited. Since then, they have kept active at their own pace with live performances and music releases.

■OFFICIAL HP
http://derzibet.com/

 

 

――What gave you this idea to release a best-of album?

HIKARU (H): Around the end of our 30th debut anniversary year, talk about going through some record company to release it started up but since these are old releases, things are complicated with the rights so even though we originally intended to release it last year, it ended up being this year. In the beginning, things were moving along pretty smoothly but setbacks came in at the very end (wry smile). Feels like we finally released it.

――How did you feel when you got confirmation that it was going to be released?

H: Happy, right?

ISSAY (I): Because we never thought it could be. It was the sort of situation where we were questioning whether something like this was even possible.

H: Also because this is the first time we had the freedom to choose all the songs in a best-of album.

――How did you pick the songs?

H: Ultimately, we focused on songs that we perform live. We’ve done live performances of all the songs here.

I: Even if we did include songs that we don’t perform, that’s no fun, is it? There’s an increase in those who aren’t fans from way back, and they voiced out that it’s difficult to get their hands on original releases from those days too. Which also means there are a lot of songs we perform live that they don’t know, aren’t there? So, you see, it was quickly decided that this would be based on the songs we perform in our shows. Then HIKARU came in with, “What do you think about something like this?” and shared a draft with us. From there, [discussions] were like, don’t you think including this is better than that, and all that.

H: Cutting [the number of songs] down was more difficult, wasn’t it? Because we chose a little too many. Everyone was suggesting this and that.

I: While drinking, yes (lol).

H: In the mastering stage, we couldn’t fit [all the tracks] into the first CD (wry smile). We had to revise a bunch of things. Besides, if we were back in the vinyl record days, it’d be a 4-piece release, this collection.

――It’s quite a hefty one, isn’t it? Among the songs, the only newly recorded one is Neo Flower Moon. Why did you choose to record a studio version of it at this point in time? It’s from 1986, isn’t it?

I: We intended to put in in the previous album, Bessekai (別世界 / Another World). We had that in mind but the number of songs we made for Bessekai grew too large so then we again decided to put it back in storage. And now it finally gets to see the sun here.

H: The topic of recording it never came up in the past, and even though we’re only doing it now, it doesn’t feel out of place at all. Although it’s a song from 1986, it doesn’t feel weird to place it within Bessekai, and it’s fine that we do it only now, too. That’s some sort of interesting.

I: It’s something we’ve been dragging out until now so I guess it’s just good that we’re finally doing it now.

H: It’s like a homecoming.

I: And we basically kept the arrangement the same too.

――Even the lyrics?

I: I made adjustments in some parts but it’s basically unchanged, yes.

Often described as unorthodox¹

――Are the two discs meant to feel like they are split chronologically?

H: The songs we released through BMG are indeed in the second CD but that’s a good thing, isn’t it? On the contrary.

I: Because there are a lot of BMG era songs that we started to play after our reunion, aren’t there?

H: The last album we released was Kirigirisu (キリギリス / Grasshopper) and then our activities came to a halt so we didn’t manage to do a tour for it. It was pretty interesting playing the songs from that album after we came back together. We ended up recording a lot [of songs] for disc 2 so I think it’s good that we had them divided like that. Included are also really unorthodox songs that would make people wonder why they’re in a best-of compilation, but they’re a perfect fit for the present, right?

――Do you feel that there’s some reason why you don’t feel uncomfortable playing these songs again now, 30 years later, after so much time has passed?

Both: ……

I: We both fell silent (lol). This time, since we have such a quantity, we were able to include unorthodox songs, especially those from our BMG era. There are unorthodox songs in the first CD too, but whatever people used to call unorthodox back then doesn’t feel as unorthodox as it used to now in present times. After 30 years, we’re finally not unorthodox (wry smile).

――Is that because societal values or something like that have changed with the times?

I: I think that’s one reason, and also that we are now able to easily execute the little things we do in our music. We’re now capable of doing them without needing to strain for it. That’s definitely a thing, isn’t it? Otherwise we definitely wouldn’t include songs like Club Idiot, normally (lol). But when we play them now, it feels good. It feels much better now than it was back then.

H: There are songs that we would never play in this day and age (wry smile). Something just wouldn’t feel right. The music and the melody or the arrangement or something else just wouldn’t be right. Like songs from our third album or something, there are some that we get asked to play but there’s no question that we definitely don’t want to (wry smile).

I: Probably, those songs, I think the fact that they’re over-produced contributes to it too.

H: There might have also been an element of trying to do more in an effort to sell well.

I: Besides, there are also [songs] that we did because we were told to try and do something less unorthodox. Not to say that we did that unwillingly, but because we did that, it also means that we’re straying off our centre line, doesn’t it? Back then, we didn’t know what our centre line was, but now, I would think we know where it lies.

――Maybe it doesn’t feel weird even after 30 years because that centre line sticks out.

I: It’d be cool if I said that it stuck out, but we can’t do anything else. I think basically, when we four or five come together to play, this is the only brand of music we’re capable of making. And that’s something I find particularly intriguing these days. I don’t get the sense that anything’s come through, you know? 

H: Back then, fun times were complicated by unpleasant times. Now, digging up the stuff that we did in the past to play is enjoyable. In those days, we weren’t exactly a fun band having fun.

I: Now you said it (lol).

H: It wasn’t a band where four people made music happily (wry smile). Neither were we a group who got along well with each other. In comparison, we’re actually on much better terms now. It’s way more fun now than it used to be.

――Why’s that? What’s different?

H: Because ISSAY got good at singing.

I: Oy! (Lol)

H: Now I can say that we can peacefully have drinks together and chit chat. We’re not clinging to the past because we want to create new things. Steadily evolving like this is fun.  This is a different feeling than what it used to be. Because back then, since we were signed to a major record label, there were other things to contend with like how the next album had to be delivered after a certain amount of time. Now we can spontaneously release new songs or albums.

――Basically, you do whatever you want.

I: During the 10-year break, I think we came to understand our mutual characteristics. When we started things up again, we really understood our respective attributes.

H: Because playing with the same band members means that we would know their habits from those days.

To feel the passage of time

――That’s also a change caused by the length of time, isn’t it? You mentioned that you don’t feel any discomfort with the songs themselves, but do you perhaps feel the youth in it or something like that?

I: In regard to these songs, there are indeed those that I don’t think I would presently write. There are a lot that I think I could only do because of the folly of my youth, or I could only write because I didn’t understand all that much. I think I probably possessed a strength I didn’t know I had.

――When you say that there are lyrics that you wouldn’t write in the present day… it isn’t about ISSAY-san, is it?

H: Because ISSAY doesn’t stray from his path. I’ve finally come to understand that. I used to think that it would be better if he would write lyrics that were easier to understand, but after the band came back together, we spoke about a lot of things. And when we were working on Primitive, topics like what eternity means to ISSAY came up. He often talks about eternity [in his lyrics] but I wanted to understand the heart of it. After that, I started to think that the lyrics he wrote back then were actually pretty good too (lol). That’s why I say that ISSAY doesn’t stray from his ways.

I: I certainly don’t. Looking at them now, there are lyrics that I think could’ve had a little more ingenuity in them, you know?

H: Because we’re comfortable now. Like the lyrics of Bessekai songs ended up reading like they’re showing you some sort of visual media. Although if you knew what it meant, you’ll probably be able to get a deeper understanding of the unhesitating lyrics from those days which looked like you wouldn’t be able to get it unless you listened to it.

――But don’t you think that things like lyrics have a greater tendency to change?

I: It’s not about writing because I want to write, but instead, I write because something took shape in my mind. Like a landscape or an event; whatever comes to mind, wins.

――Are there instances where you listen to an old song and feel that you probably wouldn’t be able to do the same thing in the present?

I: I think I was attuned to whatever was specific to each era, so I probably chose whatever fit best. But given the way my lyrics are, they won’t really give the impression that they’re dated, so I think they’re relatable even now. I don’t think it’s weird even if we take them out to play in this manner, right?

H: With titles like, Matsu Uta (待つ歌 / Waiting), Shizumitai (沈みたい / I Wish To Sink). Amazing. huh?

I: Matsu Uta just happened to turn out like that, though. It’s a waiting song, so it’s an alias, like, “Let’s do a song about waiting”. When I said that, Chikada Haruo-san said, Matsu Uta as a title is good. So, then, I decided we’ll name it Matsu Uta.

H: And because that’s our debut single, right? It only gets even more messed up from there. Shizumitai was a peculiar one too, wasn’t it? People would ask what’s Shizumitai supposed to mean? But now it’s intriguing. Back then, the only thought I had was, “Are there no cooler-sounding song names?”

I: Because all of us were rebellious, weren’t we? Sticking to what defined rock to us and all that. That’s why things were difficult, back then. We’d butt heads over that, you know? But I also think if we didn’t have those conflicts, then we wouldn’t be here now, anyway. I think it was very important that we fought right there and then while in the midst of production.

H: Production is fun now, isn’t it?

I: We still have conflicts on occasion but those are good conflicts, you know? This album is the product of conflicts but these days, we are capable of taking it normally so it’s good, isn’t it?

H: We’re all really thankful that we can release this at this time.

I: We’re thankful, and we’re just glad. In this album, we arranged the songs as if we were putting together a setlist for a live performance. Like, it’ll sound so good if this song came after this one. And I think that’s the most impressive thing about this album.

H: Arranging them, it felt like we could put on about three whole shows just like that.

――And who came up with the album name?

I: When we were having drinks, I suggested, “What about 20 Seiki?”

H: He likes T-REX and all, so he initially proposed titles like 20th Century Boy. Saying, “20 Seiki Shounen (20世紀少年 / 20th Century Boy) is a great name, isn’t it?” “Don’t you think it’s a good idea to have 20 Seiki come after Bessekai?” 

――It sounds really odd when I hear it like this. We’ve already been in the 21st century for quite some time now, haven’t we? And yet it doesn’t feel dated.

I: Exactly. It’s like saying what you’re currently hearing is what we did in the 20th Century (20 Seiki). And it’d be great if that’s the impression it gives people. Because I think that’s the way we meant for it to be.

――It’s a wonder why it doesn’t feel old though, isn’t it?

I: Because we don’t pander to trends (wry smile). We couldn’t keep up to whatever was trendy. And that turned out to be our fortune (lol).

H: These songs were angled for the band, so simply put, we weren’t sellable (wry smile), but now, that’s a good thing, isn’t it? If any one [of our works] turned out to rake in the cash, then I think everything would start revolving around it, or we’d never remove ourselves from it. After all this time, I think that’s good for us.

――I believe there are a lot of people who would be happy to hear it.

I: Because the album itself is interesting, isn’t it?

――Have you been called unorthodox¹ since your reunion?

H: These days, the world is filled with unorthodox things, so. What we do is legitimate, isn’t it?

I: Basically saying, in the end, we were right (lol).

――I’m sure you’d like for everyone to listen to this best-of collection and enjoy your live performances even more than ever.

H: And we’ve got a pretty tight schedule for the rest of this year, don’t we?

I: We’ll start producing our next album soon.

――Very ambitious! We’ll look forward to it.

 

 

 

Notes:

¹ マニアック (maniakku), literally read as “maniac” has been translated as “unorthodox” in this interview. Despite how it reads, its definition is more closely related to being obsessed with very specific or niche topics. In other words, something that isn’t generally accepted in mainstream society. Thus the translation choice here.

 

 

 

Translation: Yoshiyuki
Scans: Yoshiyuki

 

 

BUCK-TICK | [23 Jul 2023] Ongaku to Hito: BUCK-TICK’s 異空 -IZORA- Tour Final — Concert Report

Posted on by Yoshiyuki

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

Ongaku to Hito
23 July 2023

text by Ishii Eriko
photos by Seitaro Tanaka

 

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

_____________________________________________________________________________

 

NEW ALBUM『異空 -IZORA-』
2023.04.12 RELEASE

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

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

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

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

_____________________________________________________________________________

 

〈BUCK-TICK TOUR 2023 異空-IZORA-〉

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

 

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

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

 

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

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

 

BUCK-TICK Official Website

 

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito

 

BUCK-TICK | [25 Apr 2023] Ongaku to Hito: BUCK-TICK’s 異空-IZORA- Album Tour Begins — Concert Report

Posted on by Yoshiyuki

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

Ongaku to Hito
25 April 2023

text by Ishii Eriko
photos by Seitaro Tanaka

 

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

 

 

 

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

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

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

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

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

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

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

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

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

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

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

 

_____________________________________________________________________________

 

〈BUCK-TICK TOUR 2023 異空-IZORA-〉

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

Sunday, 14 May 2023 — Kurashiki City Auditorium

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

Sunday, 21 May 2023 — Kobe Kokusai Kaikan Kokusai Hall

Saturday, 27 May 2023 — Pacifico Yokohama National Convention Hall

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

Saturday, 10 June 2023 — Hondanomori Hall

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

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

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

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

Sunday, 25 June 2023 — Fukuoka Sunpalace Hotel & Hall

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

Sunday, 9 July 2023 — Sendai Sun Plaza Hall

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

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

Saturday, 22 July 2023 — Tokyo Garden Theatre

Sunday, 23 July 2023 — Tokyo Garden Theatre

 

BUCK-TICK Official Website

 

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito

 

BUCK-TICK | [26 Oct 2023] Real Sound: In memoriam BUCK-TICK’s Sakurai Atsushi

Posted on by Yoshiyuki

In Memoriam BUCK-TICK’s Sakurai Atsushi

An unparalleled vocalist who pushed through with his one-of-a-kind performances, and a gentle heart

Real Sound
26 October 2023

Text = Imai Tomoko

 

My mind has been in a whirl since learning of the sudden passing of BUCK-TICK’s vocalist, Sakurai Atsushi. I was supposed to go watch BUCK-TICK’s performance on the 20th, one day after he fell. The cancellation of the concerts and the announcement of his passing were so sudden that even now, I cannot accept it. Just as shaken up are their fans who are enduring this grief as their thoughts and feelings continue flooding social media.

With a voice and looks both lustrous and beautiful, his tall slender frame was perfect for the stage. He was an unparalleled vocalist who wrote lyrics that were both aesthetic yet aggressive, and put on performances which were both theatrical and dramatic while he sang.

I have always thought that the overpowering presence he exuded on stage was almost deific, unapproachable. I believe that there are many who feel the same way, but I was reminded of this feeling when I watched the final concert of the BUCK-TICK TOUR 2023 異空-IZORA- at Ariake Garden Theatre on 23 July.

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

Songs overflowing with exquisite expressions in every nook and cranny in a large 8000-capacity hall; the limber movements with which he performs the songs using his whole body holds his audience rapt. As the singing performer, it would seem that Sakurai had broken new ground and with the great strides he was making with his songs, it felt as if his fellow band members had also scaled up their playing.

As they celebrated their 35th debut anniversary, what BUCK-TICK had been cultivating through the years felt like it was just about to ripen and it was plain to see from all the elaborate CGI and lighting which decorated the stage, all for Sakurai’s songs. I shared these thoughts with Sakurai after the show and he was really happy about it.

About two months after that, I got to watch the additional performances (BUCK-TICK TOUR 2023 異空-IZORA- FINALO) which were to be held at Gunma Music Center, in their hometown of Gunma. In a uniquely designed hall, the band appeared to have enjoyed performing there given the fact that they had played here countless times ever since they first debuted. The way Sakurai danced, flapping his arms like wings as he sang made me wonder whether he was referencing the Jomo Karuta card “Gunma Prefecture, shaped like a crane in flight” (つる舞う形の群馬県 / tsuru mau katachi no gunma-ken). I wanted to ask him about it the next time we met, but that chance was never to be.

Sakurai’s live performances were special. Singing with a clear voice, he conveys the worlds of his songs using a variety of props. An ostrich feather stole or a sheer shawl, or an elegant hat and walking stick, or masks that look like they’re for a Venetian party or an artsy candelabrum; these are just some of the things he uses depending on the song. For example, a single stole can be draped over the shoulders or worn over the head, creating a completely different scene with a little ingenuity.

He further captures the imaginations of the audience with a little inventiveness in his outfits which brings different characters to life. One moment, you wonder whether he just showed us a glimpse of his legs in kneehigh stockings and the next moment, he’s dancing gracefully in a black crested kimono. His physical expressions which even involve the slightest movements of his fingertips more effectively enhanced their songs than any stage set could.

The one who influenced Sakurai to no small extent with such performances was Der Zibet’s ISSAY (vocalist) who suddenly passed away in August. Not only were they fellow vocalists, the two of them had similar tastes in music and art, and had been long-time friends and mutual inspirations to each other. Their relations led to Der Zibet and BUCK-TICK participating in each other’s albums, and even guest appearances at their respective concerts.

On the topic of performing together, ISSAY said, “When it comes to Atsushi-kun, he’s a person who has a unique energy when he’s on stage so that clash between both our energies feels wonderful, truly.” While Sakurai had this to say: “I had to respond to his serious challenges in each moment so I really enjoyed it.” (※1)

 

BUCK-TICK/Kemono-tachi no Yoru YOW-ROW ver.(TOUR2020 ABRACADABRA ON SCREEN)

 

Once Sakurai leaves the stage, he becomes an unassuming person of few words, but he’s always gentle, treating everyone kindly and as equals, with the natural disposition to pay attention to detail. 

Many musicians and close friends would always gather for BUCK-TICK’s annual year-end performance the Nippon Budokan, and then join the afterparty which goes on until morning. He had said before that he actually likes to drink alone but he would share a toast with each and every person there.

Of course, it was not only Sakurai but every member of BUCK-TICK who cherished their connections with people, and maintained good relations with many. I believe the outpouring of grief for Sakurai on social media is a clear indicator of the strong interpersonal relationships BUCK-TICK has forged. It also goes without saying that his sincerity, kindness, and generosity have been conveyed to and charmed countless fans through his songs and live performances.

BUCK-TICK started out with Sakurai, and fellow schoolmates Imai Hisashi (guitarist), Hoshino Hidehiko (guitarist), Higuchi Yutaka (bassist). At first, Sakurai was the drummer but switched to being the vocalist when he proposed, “I want to sing.”  Higuchi’s older brother, Yagami Toll (drummer) then joined them and the band started taking their activities more seriously. After that, the band released their first single, TO-SEARCH in 1986 under indie record label Taiyo Records (太陽レコード).

The next year, they released their first indies album HURRY UP MODE and soon after made their major label debut with Victor Entertainment with a concert video, BUCK-TICK Phenomenon at LIVE INN (バクチク現象 at LIVE INN). At the time, it was unusual to start a music career with a film release, and when asked about the reason behind this decision, even now I can still remember Yagami’s reply, “Because we focus on visuals (ビジュアル重視 / bijuaru juushi).” These words come before the term “visual-kei” was coined.

Back then, you would typically see “member recruitment” flyers pasted on the walls of livehouses where those who stuck them up would detail their music preferences and list their favourite bands. At some point, the term “ビジュアル重視” became a common sight on these flyers. This is because in the dawn of the band boom, people came to believe that looks are also an important deciding factor for whether you’ll be featured on TV or in magazines. 

I believe BUCK-TICK at the time focused on punkish sprayed-up hair and new-wave styled outfits instead of Sakurai’s attractive facial features, but Sakurai’s presence was more than enough to draw attention. I heard that MAGUMI (vocalist/trumpeter) from LÄ-PPISCH, another band who also debuted through Victor Invitation (Invitation) said, “Acchan’s (Sakurai) beauty is near divine.” There’s no denying that hearing this changed the way I saw BUCK-TICK.

 

BUCK-TICK / 「JUST ONE MORE KISS」Music Video

 

The band has done countless interviews since their debut, but their earliest interviews were an uphill battle for this reticent group. As their popularity grew, magazines also began to dedicate more and more pages to them. They started conducting solo interviews where the members of the band gradually opened up; Sakurai started giving his insights on lyrics that were being read into, while Imai began to talk about his intent behind the sound constructs. 

With Sakurai, I also got to talk to him about his favourite artists and songs, as well as books and films and many more topics, all of which could be inferred from his music. Like how he often listened to popular songs from the Showa Era as a result of his mother’s influence, his love of Alain Delon and Sawada Kenji, his being influenced by Miwa Akihiro and Edith Piaf. The topics were endless.

 

BUCK-TICK / Aku no Hana Music Video

 

In the early days of BUCK-TICK, Imai also wrote the song lyrics but later on, Sakurai began composing them. Ever since the beginning, the lyrics which Sakurai wrote were never simple love songs; they were love songs which were also aesthetically lonesome.

He said before that he wanted to depict “post-sex depression”, but I believe that was gradually channelled towards digging deep into exploring the human psyche. Immersing oneself in an aesthetic of decadence is a result of coming into contact with the dark side of humanity where pain, loneliness and cruelty which lurks in that darkness comes to the fore of human nature.

Woven into the songs in his own words were his explorations into the complexities of gender, differing religious views, and the changing values of society through history. Recorded in the album entitled Six/Nine which they released in 1995 was the song, Rakuen (Inori  Negai) [楽園 (祈り 希い)]」and in it was a line which goes “Garden of Love where the children of god kill each other”. It still hits me straight in the heart even now, and leaves me in admiration of his keen insight.

 

BUCK-TICK「Rakuen（Inori Negai）」

 

Speaking of “aesthetically pleasing yet decadent”, Sakurai may give the impression that he sings about things that are detached from reality, but he was in fact an artist who kept a close eye on reality. This was one side of him that really showed in the band’s latest release, 異空 -IZORA- (2023). Recording commenced before the Ukraine invasion which began in February 2022, but there are a few songs in the album which seemed to predict it.

From the start with SCARECROW’s first line, “Can’t run away　There’s nowhere for me anymore”, to  Sayonara Shelter which seemed to depict a post-nuclear war world, to  Campanella 　Hanataba wo Kimi ni where he gently sings, ‘Mr. Soldier　Machine gun　　Missile　“Flower bouquet” ／ Children　Father   Mother　“Flower Bouquet”. As he sings this song, Sakurai mimed holding a baby before turning small and cowering on stage in the end.

Also, Hizumi, which he begins in concert with a monologue that starts with “My name is Hizumi,” is a song that expresses the bitterness of a person who struggles with gender issues. Na mo Naki Watashi (名も無きわたし) follows right after that and it comes across as a song about everyone existing as equals regardless of name or nationality or gender.

I believe that Sakurai could be so daring to pick difficult themes like these only because of Imai and Hoshino’s incredible pop-sensibilites and aggressive arrangements. But is there any other artist who could take such heavy themes and sing them in such a beautiful and easily understood manner? I cannot think of any.

 

BUCK-TICK「Campanella  Hanataba wo Kimi ni」

 

Looking back, there’s an endless amount of things to talk but most of all, Sakurai Atsushi was an outstanding vocalist, a virtuoso of weaving words together to bring across a song. In addition to that, no amount of words can describe how brilliant he was at expressing himself on stage. When I think about how he probably still wanted to go on singing, I cannot imagine how vexed he was to have fallen on stage.

It’s not difficult to foresee how much more accomplished a singer he could’ve become if he continued to sing, and there’s no doubt that he would also add another layer of depth to his lyrics.

On his personal Instragram, Imai wrote, “I wanted to play guitar by Acchan’s side forever.  But, well. We’ll keep going, alright?” (※2) The four members of BUCK-TICK are probably the saddest of us all at the loss of Sakurai, but I hope that they will continue for us as per Imai’s words.There is no end to my grief, but I believe that Sakurai would want us to continue listening to the songs he has left behind for us.

 

May Sakurai Atsushi’s soul rest in peace.

 

BUCK-TICK / JUPITER Music Video

 

 

Notes:

※1: From the November 2010 edition of PHY (Ongaku to Hito)

※2：https://www.instagram.com/p/CyxUmQrJuhs/?img_index=1

 

 

Translation: Yoshiyuki
Source: Real Sound