“Creativity that transcends imagination”
Legend:
◆Masuda You, the interviewer
「Ruki’s
words」
◆Today is August 25th. It’s the right timing, as just
a few hours ago, I received the completed “DIVISION.” What surprised me most
was that when I took this first press limited edition in my hands, it was
heavier than I’d expected. I was like, “Ahh, so that’s
how it ended up!”
「Yeah,
that’s how it ended up (laugh). Actually, I received it myself just yesterday.
When the real thing is finally done like this, it gives me a feeling that
“We’ve really done it”, you know. But actually, it took a long time to complete.」
◆In the end, what was the most difficult thing about
it?
「Being
consistent about a lot of things, I guess. Like, at first I only had this
really vague vision, and from that I tried to think up different kinds of
stories… Bringing them all to unity was difficult. But I kept
getting a lot of ideas. And in the end, they all connected as one.」
◆It was as if, so to speak, you saw it all since the
beginning?
「Yeah.
That’s exactly how it was.」
◆So you could call a coincidence coincidence, or call
it a fortunate bit of thinking ahead. Things like that happen. Actually,
although I myself heard a lot about this album from its initial stage of
production, the concept itself was really rough at first. So I’m surprised that
it was completed this elaborately.
「That’s
somehow strange to me as well. When I decided how things would go and was
completing them one at a time, the things I hadn’t realized had that strong a
connection also connected in the end. It was a really fun process, watching
such subtle details connect and gradually become one.」
◆Or you could say that, even if there were factors
preventing you to see into such subtle details, they came together as, looking
forth, you overcame them.
「I
thought that was definitely what happened this time. And I didn’t always
use this method. The artwork is the same way: I’d just have the idea for a
jacket cover and then work on the contents from that. So honestly, I’d make it
without being bothered that it isn’t really linked to the songs. As a matter of
fact, this is where the link would naturally begin.」
◆For example, in case of the limited edition, you put
the DVD as the point of connection between the two CDs. The videos supplied
there, as well as the liner notes I wrote at the beginning of the booklet…and
well, it might sound presumptuous coming from me, but you could say that
they’re also a part of “DIVISION.” I felt like it might’ve been acting as a
certain thematic glue. (T/N: The interviewer, Masuda You, is the person who wrote a
two-page intro for the limited edition of DIVISION.)
「That,
too. For the limited edition booklet, it wasn’t that I had some deep idea and a
draft from the beginning. As different elements amassed, it turned out like
this naturally. So, I guess it’s still a strange feeling. Well, of course
it is, since I got it just yesterday but yeah (laugh)」
◆Even if you say it’s simply just a part of the
album, it all began from an idea to make two mini albums of different
inclinations. So, the limited edition went on to be structured in accordance
with that, but you condensed the regular edition into one CD, with the
song order completely different. Were you confident it was going to work out
that way?
「No,
on the contrary, we thought it wouldn’t work at all (laugh). Initially, we
didn’t really think about the regular edition. And at the point when we decided to make
it into one CD we thought that we should mix them up. And then as the mastering
passed and we tried listening to it, there were parts where we were like “nah.”
In order to complete it as a single CD we’d have to properly rearrange it. So
we revised, and the song order was set up like this. And that was at a second
round of mastering (laugh). But to tell you about my real intentions–although
the way it is is of course okay–I guess I’d have to say that the real
“DIVISION” is the limited edition one.」
◆That might be a bit of a shocking statement (laugh).
「But
I honestly think so. Basically, the regular edition is “the CD we couldn’t not
make” (laugh). There must be people who only want to hear the
music, and not everyone wants a version like that limited edition. The price of
the limited edition is also high, and there are people who can’t get it for
that reason. So if there weren’t an option like the regular edition, they would
be sad.」
◆Of course. So let’s talk a bit more
specifically about the work. I would like to inquire about the limited edition
while it was still in its basic form. The two CDs have different meanings
musically, and on the basic sound level are different in terms of production
technique. The people involved have the actual feeling of this disparity more
than anyone else, but on the other hand I believe it’s natural that among the
listeners there will be those who feel that it’s not all that different.
「I
suppose it’s so. But, I wonder. It is different in that we’d expressly tried to tackle
new things in order to differentiate the two CDs. Then again, it was a gradual
change, happening throughout a natural transition. But I thought that these ten
years would be visible in the flow from the first disc to the second. And
yesterday, when I listened to it anew, I felt yet more different nuances to it.
When I tried to listen to it objectively, I saw that after all, what makes it
different are the different meanings. This is not an unexpectedly extreme
change, but can be seen as having a proper path. As in, having a component of
the past in it somewhere, yet being songs thus far unheard.」
◆That’s certainly so. I myself have also hoped to get
a clearer analysis of the two CDs. In fact, when I
kept listening to it, I didn’t really feel an extreme fluctuation, and on the
regular edition, where the two sides of the songs are mixed, they didn’t give
off a strange feeling. In short, while clearly facing a new direction, nothing
is abandoned either.
「Somehow,
that’s what it feels like. Those two discs have both sides in them and
therefore form the same path. And that’s the path that’s possible because of
what we’ve been through so far.」
◆That’s exactly why I think that even though the
title is “DIVISION” and you chose it prior to starting the actual work, the
meaning of it really expanded.
「It
really did. But it turned out like that naturally. At any rate, in the very
beginning, we were just thinking of it as a contrast of “ballads and violent
stuff”. That made us think about various things inside ourselves.
For example, about “what a CD ought to be”. So it wasn’t that we suddenly
decided we wanted to create something interesting; the fact that it wasn’t a
single was important, and then of course there were the implications of living
in a world that is starting to focus on downloading.」
◆So, questioning what your work is supposed to be?
「Yeah.
Therefore, having made this, we’re thinking of stepping things up even more.」
◆It’s like I can hear the voices
say “Then, the next limited edition will have even a higher price?” (laugh)
「Ahaha!
At least we didn’t make it expensive and huge without a point. This size,
weight, the way the content is structured…all have a lot of meaning. Well…maybe
some people will end up thinking all of this doesn’t have a meaning, but it’s
like, when you suddenly see something that at first glance doesn’t seem
meaningful, it’s important that you think about it with your own head.」
◆So it comes down to whether you can put trust in
your fans’ imagination. For example, I expect there will be people who buy the
limited edition thinking, “I bought it because I thought it was the members’
photo collection”. There were probably other times when you had to worry about
such a reaction.
「Absolutely.
But this time, I guess we weren’t afraid of that. Because from the beginning,
we thought of going completely out with it. Usually, for taking such photos and
making a booklet, we’d have to work with designers and cameramen for example,
and for us to do that it’d have to appeal to as as “something we want to put
out”. Of course, this part is also a way of reaching our core fans; however,
what we want to show here aren’t our portraits. That’s something they have to
understand. Because when we somehow meet the fans’ demands, then they don’t
have the opportunity to discover anything anymore. If everything is geared
towards the fans’ expectations, then it’s meaningless. Of course, I suppose
there are times when you get something and you’re glad it was the way you
expected, but I think it’s bad if there’s nothing new about it. At least,
that’s what I wouldn’t like if I were a fan.」
◆Therefore, you’re not satisfied making extravagant
products in the name of fan service.
「Exactly.
So I’m thinking, for example, when it comes to overseas artists, there are times when I
randomly buy a CD that’s been fussed over, and it makes me think “What the hell
is this?”, you know? Because it’s not what I hoped for. Rather, it’s just all
kinds of things in there without any explanation. So when I can relate to
something like that, I can usually get more into it. If you’ve managed to
relate in that way to our products, then that means our band has progressed
further on. So I suppose that we personally have a different approach to the
choice of products that make the fans happy. To put it differently, that’s what
I see as fan service. Having them look forward to something by showing them new
things. Photos are that same way too, but nice-looking photos aren’t
everything, you know. If there aren’t new things, there’s no motivation,
they’ve seen everything. It might happen that we’ll have to ask ourselves “So
should we put out something of lower quality?” Should we try showing that we’re
struggling with a drop in quality, or should we try for new horizons together
despite that? I thought that that might be the difference」
◆When I was a middle school student and started
listening to various bands, there were so many times when, the moment I’d get a
new album I’d feel that “I don’t get this band anymore”.
But, I ended up liking it exactly because I didn’t get it–because I would still
try to understand. Due to having a bunch of such experiences, I’ve managed to
grow up along with the band’s progress. Of course, it’s not a problem if I
misunderstand them. RUKI-san, is it that you expect such a thing from fans?
「I
do. For example, at the time when hide-san did zilch, I think the response was
a bit strange. Because the lyrics were in English and the melodies really
enthusiastic. I think that there were lots of people who didn’t really get it then and
when they tried listening to it after a few years passed, they sensed it
exactly right. As a fan, thinking that I wasn’t able to get to that sense when
an album was announced would make me regret it somehow. As if I was somehow
late to the party or something.」
◆Did you actually have such regrets back then?
「No,
concerning zilch, everything was okay. But, for example, when it comes to LUNA
SEA and stuff, the songs I liked at that time and the songs
I like at the present are clearly different. Even with overseas artists, the
things I’d felt were impossible for me back then, I normally listen to now.
Since back then, if it was possible, I’d try to listen to all the things the
artists I liked listened to. I bought all the CDs of the artists J-san listed
as his favourite in a GiGS article. And even if it was something I didn’t
understand, I pretended that I did (laugh)」
◆I really understand that so well. It’s because just
by doing that you could feel as if you were closer to
the artist you like. In the same way, you want to convey with the entirety of
this album that “the GazettE right now are exactly this thing of this taste and
viewpoint”, and it’s also that you want, if possible, for your fans to end up
liking the whole thing, right?
「Right.
Somehow, I think that the people now don’t do much thinking when they see the
booklet.」
◆It’s like you’re saying that you’re no longer one of
“the people now” (laugh).
「But,
certainly I’m forced to feel a difference in generations. The
not thinking, or not imagining. The whole, wanting to understand something from
just seeing a single sentence. That’s how things like Twitter are too, in that
you don’t try to see the backdrop of those sentences. When you don’t think
about, “Why is he saying something like this, with what meaning in mind?”, then
you only interpret what you see superficially, and because of that you go on to
say something.」
◆Like getting angry even though they misunderstood
something?
「Yup.
I’m like, read it properly (laugh). Even with music, I guess there’s
things like that. When you try reading the lyrics and don’t understand. That’s
where it ends. I myself don’t like it when I don’t understand something, so I’d
like them to try thinking about it.」
◆Being
able to enjoy things like that is, I suppose, one of the privileges of being a
fan.
「Yes.
I think my own sensibility got refined that way too. When I reach out to
something I don’t understand, I touch into a world unknown to me, and attempt
to understand yet more different worlds. So simply said, I think it would
be a waste if such an instance would end with a mere glance, without thinking
of anything, without searching for anything.」
◆When you’re listening to something you like, it’s
natural you’d get interested about what’s on the other side of it. That’s what you
mean?
「Yeah.
On the other hand, there’s also stuff I’m told by fans. Such as, “It’s fine if
you’re fixating this much on the booklet, but what about the sound?” And that’s
before actually hearing it. Honestly, I think that’s a little beside the point.
When it comes to such things, I think of it as taking it all together and
making a single product, and since of course I have faith in the sound, I can
fixate on other things, as well.」
◆Indeed. If you didn’t have faith
in the music, then you’d be embarrassed and trying to fixate on the artwork
would carry a feeling of guilt with it.
「Yeah.
But, I think that saying such a thing obtrusively is also wrong somehow. So I
want those people to try hearing the thing first and then say
things (laugh).」
◆You’re quite right (laugh). But actually, before the
release, you probably heard people saying “Why is the limited edition so
expensive?”
「We
wanted to make it a lot cheaper, but even so (laugh). We did our
best, and everyone around us did their best. People from the recording company
gave it their all, as well.」
◆That’s something that naturally, we shouldn’t really
write in a magazine, but it makes a great difference whether or not you have
the blessing from enthusiastic people in charge.
「That’s
really very important. Like, that they tried reading between the lines some way
or other when it comes to the things we want. And other than those people in
charge, it feels like there is the “care” put in by various
other people who participated. Like our cameraman Hirano-san, who ended up
leaving a fingerprint on the front cover and then thoughtfully wiping it off.
When I saw that I felt kind of happy. 」
◆It’s as if the product itself became a precious
child of every person who worked on it.
「It
is, and I actually suddenly noticed that Hirano-san and designer Yoda-san had
started freely and enthusiastically saying things like, “the future GazettE
should be like this” (laugh). It’s truly a welcome thing (laugh). In a
weird way, it’s good that such people around us are handling our band, and I
think it’s great that they were thinking with us how to make things happen.
Actually, such feelings have come through. In other words, all of us have taken
on the challenge of handling this product called “DIVISION.” The music is at
its heart, naturally, but there are other parts to be enjoyed too. I want the
people who haven’t yet had the chance to enjoy the album to the fullest, to
realize that.」
◆In that sense too, this album feels like its music
evolution and everything around it is on a different level.
「That’s
why it’s fun. At first, we started out stubbornly trying to surpass our
previous album, “TOXIC.” In the end, it wasn’t “TOXIC” that
we were trying to surpass. In a way, it was completely different.」
◆In a way, it might have been everything.
「Yes.
Maybe we were trying to exceed everything.」
◆And, another thing this album made me realize is
that, this band, after all, doesn’t want to do what somebody
else demands them to.
「Or
rather, we don’t even know what is being demanded from us (laugh)」
◆To be rather specific, for example, if “Ibitsu” was
conceived at the time when you were about to play at Tokyo Dome, I wouldn’t
have been surprised if it became one of three singles.
「It
might have been exactly like that.」
◆So certainly, it’s not making such
a song, it’s that you don’t like it when someone demands you make it. After
all, you should have your own voice.
「I
agree. And I thought the same thing at the time of our 10-year anniversary.」
◆So when hearing “Ibitsu”, there might be some people
who feel like “they’ve gone back a little bit, haven’t they?” But, as
you’ve said before, in the end it is that you “haven’t thrown anything away”,
and simply, there’s a difference in the detail of whether the band has sought
something out and conceived it, or if someone has demanded it.
「Exactly.
So of course, I’m curious about how everyone will hear it. I simply think it’s
not about the sales anymore. Now there’s kind of a part where we should think
how to have yet more people hear it. Saying this might get someone
angry at me, but I don’t mind it if you borrow it from someone to hear it. I
just think it’s fine if there’s even more people now who hear us for the first
time in that way. I guess the album turned out like that. Because I want people
to give their attention more and more to see what we’ll release. The form of
this album is like this, too, because we will be releasing much more new
things. Somehow, I think it’s really wasteful. Even though there are all these
types of music, people only reach out to the things that are slapped right in
the most obvious place. And so honestly, when it comes to DIVISION, I think
it’s probably something that people who don’t already know the GazettE will
have a much harder time picking up.」
◆Those who listen to the things
already out there are not the music fans; for them it’s just a way of having
more fun. And also, you’d said earlier, “to yet more people”, but I think that
isn’t really a problem of numbers.
「Right.
Still, it’s not that it can be fine for anyone. So exactly
because of that, just, if I could have all the people in the country hear
something like this, I would want to know like, which opinion the majority
would be of.」
◆If only to ask the people who dislike it as to why
they dislike it?
「Exactly.
So if among the answers there would be “I didn’t understand it”, that
would be okay.」
◆It would be best if you could do a survey with the
entire nation, wouldn’t it?
「If
it were possible, I’d distribute the album to the entire nation (laugh). Well,
of course, that’s impossible, and apparently I’m supposed to think about the
profit, too (laugh)」
◆Because if there were no profit, you wouldn’t be
able to create this.
「Yeah.
But, while we, the actual persons who created it, don’t have that much to do
with profit, we’re all interested in how it’s perceived as. So it would be great if
we could like, enclose it with the newspaper (laugh). Because nowadays, the
very act of going out to buy a CD is progressively dying out. So even if we can
make something simply to gratify that, there will still be a lot of people who
won’t know that this CD is coming out. And I think that’s too bad. Certainly,
if they end up saying that it’s a difference in taste, then that’s what it is.」
◆It’s really a “Even though there’s such a fun world
in there!” kind of feeling.
「Yeah.
I personally used to feel like that about the music of our predecessors. Simply
put, I thought it should have been shared more.」
◆I think we might have been the final generation who
could put into practice what we’d learned directly from those
predecessors of ours. Don’t you think so?
「I
don’t know about that. At least, mostly you can’t find bands with a similar
point of view around here. And, it’s not really because I think I should be
unique or that I want to be unique.」
◆It’s
more a question of where to look for uniqueness.
「Yeah.
I do want a certain type of uniqueness, and that’s why it’s annoying when I’m
forced to recognize that some other band is, no matter who sees them,
immediately understood as doing “something out of the ordinary”.
After all, it’s not nice being annoyed by that. So when I think of someone’s
work that it’s “reaching into a really deep place”, I think that then we need
to go past that. And for that reason, too, I watch and listen to various
things.」
◆I’m
going back to what we were talking about before, but when buying CDs by those
predecessors whom you hold in respect, even though it should’ve been something
incredibly special, if it was substitutes with nothing but extraneous freebies,
you would be disillusioned, right?
「But,
for example in the case of Radiohead, don’t they put in a lot of things you
really can’t tell if they have any meaning or not? I mean, I like it that those
things then make me wonder, “Why did they want to include this?” I think that
things like the booklet and the format express the image of the entire album. A
collection of photos doesn’t do that. Thinking just how many things I can
express in the small, regular edition, naturally the question “So if I make it
huge, won’t I be able to say much more?” also surfaces. I mean, I want to make
it a serious matter. Now, in the time when people coming into stores to buy a
CD are rare, I want those who pick up the limited edition that costs more than
6000 yen to think that they’re glad they bought it, after all.」
◆On the other hand, since it’s a band’s job to
persistently make good CDs, there are those who leave all the specifics and
what surrounds it to the staff.
「Actually,
a while back, we talked about that. And I think that’s also the right
thing to do. But, our case is different, since we’re no longer at a place where
we think that we’re just about the music. With each product we create, we have
to take into account just how much responsibility we ourselves have. We don’t
want to push those responsibilities onto somebody else. So if, say, we were
ever to reach a point when we say something like, “We should only do music”,
then at that point, I think this band would have truly changed, and we would
have lost any interest in various things surrounding the music. If that
happened, it wouldn’t be a CD, and it’d probably be enough if it were just a
CD-R, and all we’d have to do is distribute that.」
◆But, at least for the time being, that isn’t what
you want to do. A discussion article with the
people involved in the booklet artwork was also included in the limited
edition. When RUKI-san is concerned, visual kei is something that comes from
such a comprehensive desire for expression, isn’t it?
「Yeah.
I’ve always thought of it like that. In that it carries very
deep ideas in each respective thing. Before, everyone used to fuss over things
like the CD cover, didn’t they? And it’s sad that such a part is disappearing.
There were times in the visual kei scene when people wanted to buy just the
cover, and ended up liking it even more once they heard it. I think something
like that can be very important. So, when we speak of visual kei and such,
bands who don’t worry about that at all and who only wear make-up then wouldn’t
be visual kei, and should just be called “make up kei”. Because just to be
calling yourself visual kei, I think that you’re supposed to be particular
about all the things that appeal to vision. Therefore, I think it’s off-point
to say that “even though it’s visual kei, it has little band portraits.” Visual
kei bands that I’d always liked were awesome even just with silhouettes. There
were things that tugged at me with but a single shadow. Because it’s not the
faces that I liked.」
◆It’s not just hearing or vision, but appealing to
all five senses. Or to put it more clearly, that’s what you want to be.
Speaking of which, you named the two CDs composing the limited edition this
time, [VEIN] and [ARTERY], respectively. That is, 静脈 and 動脈. It feels like through those
words, yet more things have connected.
「Yes,
I think that they have. When I wanted to name the discs and tried to find two
words for them, I tried thinking of the album as a single human being. That’s
how I thought of it.」
◆Veins return blood to the heart, and arteries carry
it throughout the body. In other words, gushing forth from this band’s
heart is a desire for new things, but as it rushes through the entire body, at
the time when it returns to the heart, it becomes something that also adds onto
its roots. It felt like such an explanation can be given. Maybe I’m thinking
about it too much though (laugh).
「Definitely
leave what you just said in the manuscript, please (laugh). But actually, after
deciding on a title like that, I make many discoveries, and parts that connect
appear. Besides, it’s not like I ordinarily think about the
difference between veins and arteries (laugh). At most it was only about the
contrast of the characters “静” and “動”. (T/N: vein-静脈 and artery-動脈, 静 means calm, 動 means moving.)
Consequently, that’s the way it turns into something meaningful. I think it’s
too bad when there’s truly no focus on something like that. If there are those
who don’t understand the words “vein” and “artery”, I assume there will also be
people who don’t even look for the meaning. Perhaps there will be those who
will start from the DVD. But you know, when you only listen to the music, it
might feel shorter, but if you start listening in order while one by one taking
stabs at the meanings of the words, I think it would be pretty tiring. And, I
think that’s good.」
◆Seems you don’t want them to look for word meanings
as if studying for entrance exams, and don’t want them to analyse the artwork
in an artistic way either. But, exactly that, something so fun you’re absorbed
in it to the point of exhaustion, that’s truly a privilege of being a fan.
「It
is. In fact, it’s by imagining various things like that that the feeling of
connecting everything into one comes about. To be very honest, I question
whether these sentiments really can reach the teenagers, as well.
Perhaps I can’t communicate this to the people who are only interested in the
“so-called visual” style. That’s a difficult thing about it.」
◆In other words, this album is not intended to reach
a 100% of those who call themselves visual kei fans. You’re
people who are able to deliver this music and what this album itself is
supposed to be, as something that hits right on the mark, and that’s also
because you are still treading unknown territory.
「Yeah.
I really think so. While we kept doing our trial-and-error thing,
we planned on really understanding what we’re supposed to be expressing, what
we’re supposed to be, and I think that this way, by being persistent in the way
we go about things, something should travel even beyond the obstacles. And yet,
because I’m a kid at heart, I want to surpass the bands I like, or should I say
that, I’m also curious what the people I respect will think when they hear it.
Since I think I wouldn’t wanna be one of those that my senpais mean when they say
“The youth today…” (laugh)」
◆To say it more specifically, you’d like to be able
to just confidently give the album to those people you admire, right?
「Exactly.
Instead of saying “Please listen to it, I’m in your care,” I’d be like, “I came
to win.” (laugh)」
◆Like, because I’m gonna step all over you (laugh).
「Of
course, I wouldn’t say something like that (laugh). But like, there’s that
thing “younger generations following the things their predecessors did.” I
don’t like that. We want to continue on being as unique as we
can be. I think that’s where the real respect is. While it is that “We honestly
learned a lot from you”, it is not “So we want to be like you.” So well, when I
make it seem like it’s settling scores, it might lead to misunderstandings but (laugh)」
◆In the end, by exceeding them, you can repay them
for everything they’ve done for you.
「Yeah.
So looking at the generations below us……and this really isn’t anything like me
dissing them (laugh), but I do wonder why they aren’t going more for the win.
It’s like there’s some “selling manual” out there that we don’t know about
(laugh). Of course, I’m not saying everyone from the younger generations is
that way.」
◆It’s like, things RUKI-senpai’s been saying lately
are a bit scary (laugh).
「I
guess that’s what it looks like. But when it comes to that, my generation
is supposed to be the same as the image embraced by Kiyoharu-san and various
other sempai (laugh). Actually, it’s not like that at all. For example, what I
enjoy at the moment, is going into this thing that hide-san once called the
“gap industry” (T/N: a niche market). Instead of aiming for
the very middle with everyone, we’re in little gaps between, where it’s more
fun for us to carry out our own way of doing things, and where we can do many different
things. So I think it’s best if the name the GazettE can secure a stable place
for itself there.」
◆There will probably be readers who don’t have that
positive an image of the phrase gap industry, but for you, “gap=a territory
just for us.”
「Exactly.
Therefore, more so than in melody, we want to establish that in mind. We want
to be recognized for having this type of mindset. And actually I think that
being able to think this way is exactly because we made our previous album
“TOXIC.” It’s like the things that we are able to do increased incredibly
because we made it. And I think that, when making “DIVISION” now, it was
necessary that we’d made that album, and both our ten years, and Tokyo Dome,
now seem to have happened so that everything would connect here.」
◆Everything’s connected now, isn’t it. Personally I
felt another thing–that in that relation between vein and artery, what’s
essential are imagination and creativity. If there’s nothing but imagination,
it can all end with a simple illusion, and if it’s just
inventiveness, it then ends up a shape with no substance. By possessing both,
the band’s blood circulates in a healthy way.
「Imagining
is very important to artists. It’s not about capturing what one sees, but
trying to think about it a little deeper, and still try
thinking about what everyone will interpret it as. Actually, in case of this
band, I don’t think we’ve had enough of the inventiveness part from the start,
and beginning from imagining took a long time. But, exactly because of that, there’s
a certain amazement when we accomplish something. Since it didn’t really go
along with some planned storyboard. We’re not going about it by using a
storyboard and thinking that that’s the way we’ll proceed. Instead, things just
happen when different reactions amass. That’s something important to our band.
I think that probably, if each of us tried to make a storyboard, we’d end up
with completely different things.」
◆You’re saying that those differences are necessary
to the band?
「Yeah.
Namely, those differences show up in songs. When someone brings a song that
they’ve been having trouble with alone, we’ll genuinely think it’s great. It’s
just that when it comes to artwork-related stuff, they’re basically done by me
alone. That’s why I always have the incentive to make things that will surprise
my bandmates. Not all five of us have to completely understand it at first. As
long as it can be understood with time」
◆So if it’s RUKI-san personally putting his
imagination to work, you should make it by yourself,
right. I think there must be a great deal of readers who think that way.
「There
probably are. But, it’s not really like that. Basically, they’re things I make
with the feelings of five people in mind. So actually, while other members
indeed don’t have to do with the artwork specifically, I am able to make those
things because my bandmates are there. If it was just me, they wouldn’t be the
way they are.」
◆ You can do it exactly because you take on the
burden by yourself.
「Yeah,
so that’s why the pressure is huge too. Because more than anyone else, the ones I don’t
want to be rejected by the most are my bandmates (laugh). And, so because I
want to get their understanding, it’s necessary for me to know about a lot more
things than them. Plus, then I can usually share these things I’ve learned with
them.」
◆That’s a really great band! (laugh) Actually, I
think there are people who feel that RUKI-san wants to do every single thing by
himself. But, that’s not the case.
「I
understand how it can look that way, and it’s difficult for me.
But if I was in an opposite situation, I’d want honestly to think “wow, great!”
about the ideas my bandmates bring forward, and I’d want to be respectful
towards everything they make. So that’s why, in my current position, I’m feeling
a lot of pressure.」
◆Somehow it feels like through this I’ve been able to
understand the band’s structure more clearly. But you know, it seems like the
birth of “DIVISION” will make a significant mark on the GazettE’s history.
Aren’t you already starting to think about the next thing to
come?
「We’re
talking about it in not so many words (laugh). I guess we’re being asked “What
are you doing?” because what we really have to do is surpass this (laugh). By
the way, back then, we even mentioned stuff like, “Should
we stop releasing things in the form of CDs?” Like, should we sell headphones
with the album embedded in them (laugh)」
◆If you say something like that here, bands will
actually start doing it later! (laugh)
「Ahahaha!
But well, though it feels a little defeating when someone does
something first, I’m often reminded that the world is a huge place, and there
are still so many things that we can do. Going out on a limb here, and I’m
repeating myself but, just for people to hear the songs, if they can download
them then that’s fine. Because we’ll release it as a CD, and we still want to
make everyone want to have it. And not because it’d be a ticket to the
handshake-meet or something. When you buy a CD, the excitement you get when
opening it is something special. I used to be that way as well, I’d even buy
something and open it on the train back (laugh)」
◆There were things like that. You never forget a
feeling like that, and it’s kind of a shame to not feel that if you’re a music
fan.
「Yeah.
Because the completed world in there is something that definitely only just
begins when you take it in your hands. So exactly for that reason, I am doing
my absolute best in making it.」
◆I see. But you know, I’m happy I could prepare for
this interview today after I got the actual limited edition. Because I was
able to have this conversation with you having felt its weight myself.
「Definitely.
Talking with people who haven’t seen the actual thing is kind of difficult
(laugh). Even preparing for the interview. Just by saying
“it’s huge”, it’s difficult to understand in what way it’s huge」
◆Like this, people similar to us will also be able to
fully realize the importance of having the actual thing in their hands.
「Well,
I think we’re supposed to have it finished a bit earlier,
so there are still things we have to keep doing ourselves (laugh). Of course,
now our heads are filled with the tour for this album, but we have to drive
ourselves on like this, in order to create yet more new things from now on.」
______
Thank you for reading!
Reminder: I worked really hard on this; it took hours and hours and
hours of peering at the scans of the interview and typing out the translation
and then fussing over every single sentence, wondering if it was worded the
best way it could be. So please respect that and don’t repost this anywhere on
tumblr. I have a rule that it’s okay to repost if you’re doing it on an
unrelated site, but I don’t like to see anything posted on tumblr, including
quotes. If you’ve created something yourself (like gifs or edits), and find
that a quote from here would be fitting, then that is okay if you credit, but
just posting a quote from here and not even crediting it is NOT OKAY.
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