- With the GazettE now being 6 years old, do you think the flow of time moved quickly? Or was it slow?
I don’t know how it went so fast.
- Especially for the last 2 or 3 years, it’s had the feeling of moving with incredible speed, huh?
Certainly the last 2 years have; thankfully we’ve felt somewhat busy. But it’s been an endless cycle of recording and touring.
- We’re doing this interview (C.C.Lemon Hall in Shibuya) now in the midst of your “Tour 2007-2008 Stacked Rubbish PULSE WRIGGLING TO BLACK” tour. What are your impressions of the tour?
We looked at the video of 01 at Budokan not too long ago, but...our performance was rough.
- What modesty! (Laughs) The set list was from your album “STACKED RUBBISH” and provided an opportunity to introduce the new songs as well, right?
Well, I didn’t love it [having to do the new songs, I think] (laughs). That’s what touring is about, though; I’ve always said I feel we shouldn’t complain. At any rate, we do our utmost. New songs that aren’t established in lives are difficult to do, but they’re still enjoyable.
- Don’t you think the new guitar really increased while the album was being recorded? [meaning they used a lot more guitar in the recordings]
The number of main guitars increased. The environment [the “ambiance” onstage?] has also increased considerably since 03. During 02 it felt more “stingy” or "less robust".
- Was there a dilemma in that environment that you all wanted to clear up?
With 1.5 in the overseas part of the tour, we were in completely unfavorable conditions for the live. I said I felt like it was a partially unnecessary experience.
- It was surprising to hear that the equipment aspect of the overseas environment was considerably drawn out. [Eh, I think he’s saying things weren’t well-prepared and/or took a long time to set up...maybe.]
It was really bad. Even so, I still think overseas lives can be a lot of fun. It’s purely about the music.
- So a good live is still possible even in a location where you couldn’t understand the language and the equipment was sub-par?
It’s hard to say whether or not the live was good, but we still enjoyed it. Like before, right? Lives around the time of “Gama” were kind of like that to some extent.
- The early days were impulsive/spontaneous? [full of surprises that were not always good, I'm assuming]
That’s right. There’s nothing you can really do about it. Thinking back on the experience, I think it we almost enjoyed ourselves too much. Japan has better equipment, environment, and also sets/materials. But some people might see [the environment] as “fine” when it’s not. That was the spirit of the 02 live.
- After 3 months free, what were your impressions of the 03 fan club exclusive tour?
03 was “fun”, or, how should I put it... It was fun for everyone to be in such sharp form. Imperceptibly, the main part of the GazettE had become a band that isn’t laughed at right? There’s a little bit of an atmosphere where a smile seems out of place, don’t you think? [They’re not a joke, they’re taken seriously.]
- With the music and also the sense of atmosphere onstage, it’s certainly not a place to laugh, right?
Sometimes we still feel like laughing, even if it’s not the place. But at 03, the MC did not feel so strained or hoarse, and I think we just had a fun live.
- You still incorporated songs from the old days.
Well, really, they’re already a bit tiresome! “It’s boring!!” I want to write in big bold letters. I remember how hard it used to be!! [I’m guessing he means the songs aren’t as exciting to play anymore, because he's bored of them.]
- Are the newer songs easier?
They’re much easier. You can’t always remember the old songs, and if you do remember them, you don’t always start them in the right frame of mind. Since we held rehearsals for 03 and 04 at the same time, it became really hard to remember.
- At one time, those songs were in all the lives.
Yeah, that’s right. During one song of the live, your hand automatically plays the song, and it’s like a familiar phrase. And depending on the song, it’s like “Ouch!” and such [when they forget, or screw up]...like the discussion about the “Baretta” guitar solo at Logos (Fukuoka), the first [time that song] was played [on the tour] (wry smile)... Uruha actually called my playing in that song the worst-ever “Baretta”. [Uruha said his solo sucked and it was the worst version of the song they'd played.] Truthfully, it was inexcusable.
- It’s unusual for something like that to be possible between the two of you!
On the 03 tour, “Baretta” was done for the first time at Logos. “Baretta” was the most difficult for me, even in the studio, and just thinking “what can I do” was the best conclusion I could reach. [He just kind of had to wing it and do his best.]
- It seems that that would mean “Baretta” is still a newer song [in that respect] then, right?
Yes, but if you don’t always play a song, I think it becomes more difficult.
- So occasionally older songs aren’t good then?
They’re still fun to do. Even in special fan club lives, it gives us a ready opportunity to do the old songs that had been missing. Even now, the songs have increased considerably. [Still remain popular? Grown in popularity? Gotten better? Or there are more to choose from? Not sure.]
- That reminds me – recently in the new song “Guren”, you unveiled your double-neck guitar, right?
Yes, it’s very stylish (laugh). [This could also be translated as “that’s the joke”... Stylish makes more sense to me. LOL]
- But a guitar like that has to be used properly in songs.
When compared to the past, it’s much better.
- Through this tour, do you feel you’ve gone through any personal change as a guitarist?
Hmm, I wonder what... Along the way I’ve increased the number of guitar solos I play... Really, I’ve been playing the guitar solos I used to hate.
- But aren’t solos the best part of being a guitarist??
When making songs, at points we think, “Ah, play a guitar solo here,” and “This point too,” while writing, but in actual production we only include a little... It’s sort of different.
- (Laugh) Then there’s no highlight [to being a guitarist]!
It’s a little embarrassing, but I think that’s the case (laughs). But recently, it finally reached a point where I felt comfortable [with solos]. Until then, I actually really hated doing guitar solos. Moreover, sometimes it would come out in the set list that we want the emphasis on the vocals to carry the song, and not rely on the tension of a guitar solo. But in the original version, songs with more guitar solos were a little more comfortable. That’s what I thought about 01. Until then, having a lot of solos made me nervous.
- Recently the acoustic guitar has been shown off as playing a more active role.
Yeah, I feel the acoustic guitar has been deep at the core.
- With that lone sound, the atmosphere of the hall bursts open and is changed in an instant, right?
That’s right. Also, I take great care to create the line of sound with the acoustic guitar so it comes across exactly as I want people to hear it. But the area with the equipment was set up by trial and error. Lately, I think the sound of the acoustic guitar has reached that point. Personally, I don’t like the sound of the acoustic guitar at lives because it’s picked up by an acoustic guitar sound pickup. It’s nothing like the natural sound of the acoustic guitar. Of course, you can’t very well have the pure sound of an acoustic guitar in a live hall, but we would like to try to make it as close as possible, even just a little.
- If possible, then, would you prefer to play a small hall limited to about 100 people so they could hear the undiluted sound [of the acoustic guitar, unaided by pickups]?
No, that’s no good! That would be too nerve-wracking (wry smile). That kind of hall is not at all like me.
- So that method would make the sound echo?
No, the guest seating in the live-house would be too close! It’s no good if it’s too close. If the venue is a small hall where people would have to form only one line to enter, they might not be able to enter as they want. [I’m a little confused by this one. I couldn’t figure out exactly what he was saying. I think he was saying if they played such a small hall, it wouldn’t be comfortable for anyone, including the guests.]
- That’s kind of lonesome, wouldn’t you say (wry smile)? Well, the “cool & beauty” of that speech is not like Aoi-kun. However, your obsession with obtaining that perfect sound is no less than it was in the past.
It is obsession, isn’t it? But the feeling of what is a “good sound” can differ for each person, right? [What he thinks is a “good sound” is not the same for everyone.]
- But with the recording of “Guren”, it seems you can hear a message or story in the considerable use of sound you maintained.
It’s like a drama...ah, the bass really speaks in it. It sets up the rhythm in the beginning of the recording, increases everyone’s excitement and is something that makes for a considerable entrance. When it’s time for the guitar, everyone’s a little slow to leave the studio (laugh). Firstly, if it doesn’t seem that everyone has a proper sense of purpose, I’ll nag at them (laugh). [I think he’s talking about the guys horsing around or dragging their heels during recording. And he’ll nag to get them back on track.]
- You get to the bottom of things by being serious and really getting behind them, huh?
Yeah, I think drama is always hard to deal with.
- Returning to the conversation about the lives, of the 04 hall-tour, was there a venue Aoi-kun would say was the best place?
Yes, a hall with a spacious stage that isn’t hot. If I could have my way, anyway! (Laughs) Any live house with Ruki and Reita [is the best]; they are a rambunctious group (laughs).
- Does Aoi-kun say that such [the tour? the extent of the tour? the success of the tour?] is a reflection of the GazettE’s current position?
Well, we’re certainly not novices, are we?
- That’s very modest.
No, no such thing. I don’t think we try to determine why guests come or don’t, but I really think we’re just a regular band.
- No, I don’t think you’re “regular”.
Really? Recently, it’s reached the point where various people come to view us that way, however... The position we’re standing in...looks to be on the edge, doesn’t it?
- Until now, the visual kei style had not really caught on, but it’s begun to pull away, and has reached the point where it’s recognized as a musical style in the view of different groups of people, right?
If that’s the case, then I’m happy. Nevertheless, for me, it’s not about the interest in one’s surroundings. If not looking from a great distance overhead, it can be said you can’t tell what’s taking place all around you.
- Then you have no interest in the scene around you?
Fellow bands are fighting each other to increase the number of guests [at concerts], however I also consider the circumstances surrounding it (laughs). [I’m not 100% sure on this either. I think he’s saying if you're good, people will come see you, and if you suck, they won’t no matter how hard you try to fill seats.]
- So what’s the future of the GazettE?
It’s hard to say...maybe nothing. We’ll probably just keep improvising (laughs). There are types who are in the habit of releasing things for awhile, then [for awhile] not creating much of anything. Then [later] if they do try to create something, they’re like, “Damn, where was it again?” because many have completely forgotten how [to create good music].
- Do you have a desire to go solo?
No. At this point, in my picture of the future, there are absolutely no plans to go solo.
- Then you’d like to remain a band until the end?
I don’t know about the rest of the band, however, I don’t think they want to go solo either. But if going solo at Budokan went well, it would look good, huh? [I think he means selling out a show at Budokan as a solo artist. That would be a real feat and very impressive for a solo artist.] Right now, I don’t think I’d yet be able to do that. Some time ago, I’d say we were more haphazard, but the GazettE has changed a little, reaching a point where everyone meets and actively participates in music selection. [They work as a team.] We don’t show each other our hands, though, so it’s sort of like playing cards (laugh). To that extent, I don’t know what will happen; I’m not in a position to predict the future. I can say, for the time being, we’ll continue to put out different types of music. We’ll continue to surprise everyone with new ideas – probably starting with [surprising] ourselves (laughs).
- So, any message for the fans?
It’s said that a silent man receives results. Complaining won’t make things come faster. [LMAO I think he’s saying, “Quit bitching, it won’t make us work faster,” or "We're working on it, keep your pants on." I don’t know if this is a Japanese proverb or what. But I LOLed.]
I don’t know how it went so fast.
- Especially for the last 2 or 3 years, it’s had the feeling of moving with incredible speed, huh?
Certainly the last 2 years have; thankfully we’ve felt somewhat busy. But it’s been an endless cycle of recording and touring.
- We’re doing this interview (C.C.Lemon Hall in Shibuya) now in the midst of your “Tour 2007-2008 Stacked Rubbish PULSE WRIGGLING TO BLACK” tour. What are your impressions of the tour?
We looked at the video of 01 at Budokan not too long ago, but...our performance was rough.
- What modesty! (Laughs) The set list was from your album “STACKED RUBBISH” and provided an opportunity to introduce the new songs as well, right?
Well, I didn’t love it [having to do the new songs, I think] (laughs). That’s what touring is about, though; I’ve always said I feel we shouldn’t complain. At any rate, we do our utmost. New songs that aren’t established in lives are difficult to do, but they’re still enjoyable.
- Don’t you think the new guitar really increased while the album was being recorded? [meaning they used a lot more guitar in the recordings]
The number of main guitars increased. The environment [the “ambiance” onstage?] has also increased considerably since 03. During 02 it felt more “stingy” or "less robust".
- Was there a dilemma in that environment that you all wanted to clear up?
With 1.5 in the overseas part of the tour, we were in completely unfavorable conditions for the live. I said I felt like it was a partially unnecessary experience.
- It was surprising to hear that the equipment aspect of the overseas environment was considerably drawn out. [Eh, I think he’s saying things weren’t well-prepared and/or took a long time to set up...maybe.]
It was really bad. Even so, I still think overseas lives can be a lot of fun. It’s purely about the music.
- So a good live is still possible even in a location where you couldn’t understand the language and the equipment was sub-par?
It’s hard to say whether or not the live was good, but we still enjoyed it. Like before, right? Lives around the time of “Gama” were kind of like that to some extent.
- The early days were impulsive/spontaneous? [full of surprises that were not always good, I'm assuming]
That’s right. There’s nothing you can really do about it. Thinking back on the experience, I think it we almost enjoyed ourselves too much. Japan has better equipment, environment, and also sets/materials. But some people might see [the environment] as “fine” when it’s not. That was the spirit of the 02 live.
- After 3 months free, what were your impressions of the 03 fan club exclusive tour?
03 was “fun”, or, how should I put it... It was fun for everyone to be in such sharp form. Imperceptibly, the main part of the GazettE had become a band that isn’t laughed at right? There’s a little bit of an atmosphere where a smile seems out of place, don’t you think? [They’re not a joke, they’re taken seriously.]
- With the music and also the sense of atmosphere onstage, it’s certainly not a place to laugh, right?
Sometimes we still feel like laughing, even if it’s not the place. But at 03, the MC did not feel so strained or hoarse, and I think we just had a fun live.
- You still incorporated songs from the old days.
Well, really, they’re already a bit tiresome! “It’s boring!!” I want to write in big bold letters. I remember how hard it used to be!! [I’m guessing he means the songs aren’t as exciting to play anymore, because he's bored of them.]
- Are the newer songs easier?
They’re much easier. You can’t always remember the old songs, and if you do remember them, you don’t always start them in the right frame of mind. Since we held rehearsals for 03 and 04 at the same time, it became really hard to remember.
- At one time, those songs were in all the lives.
Yeah, that’s right. During one song of the live, your hand automatically plays the song, and it’s like a familiar phrase. And depending on the song, it’s like “Ouch!” and such [when they forget, or screw up]...like the discussion about the “Baretta” guitar solo at Logos (Fukuoka), the first [time that song] was played [on the tour] (wry smile)... Uruha actually called my playing in that song the worst-ever “Baretta”. [Uruha said his solo sucked and it was the worst version of the song they'd played.] Truthfully, it was inexcusable.
- It’s unusual for something like that to be possible between the two of you!
On the 03 tour, “Baretta” was done for the first time at Logos. “Baretta” was the most difficult for me, even in the studio, and just thinking “what can I do” was the best conclusion I could reach. [He just kind of had to wing it and do his best.]
- It seems that that would mean “Baretta” is still a newer song [in that respect] then, right?
Yes, but if you don’t always play a song, I think it becomes more difficult.
- So occasionally older songs aren’t good then?
They’re still fun to do. Even in special fan club lives, it gives us a ready opportunity to do the old songs that had been missing. Even now, the songs have increased considerably. [Still remain popular? Grown in popularity? Gotten better? Or there are more to choose from? Not sure.]
- That reminds me – recently in the new song “Guren”, you unveiled your double-neck guitar, right?
Yes, it’s very stylish (laugh). [This could also be translated as “that’s the joke”... Stylish makes more sense to me. LOL]
- But a guitar like that has to be used properly in songs.
When compared to the past, it’s much better.
- Through this tour, do you feel you’ve gone through any personal change as a guitarist?
Hmm, I wonder what... Along the way I’ve increased the number of guitar solos I play... Really, I’ve been playing the guitar solos I used to hate.
- But aren’t solos the best part of being a guitarist??
When making songs, at points we think, “Ah, play a guitar solo here,” and “This point too,” while writing, but in actual production we only include a little... It’s sort of different.
- (Laugh) Then there’s no highlight [to being a guitarist]!
It’s a little embarrassing, but I think that’s the case (laughs). But recently, it finally reached a point where I felt comfortable [with solos]. Until then, I actually really hated doing guitar solos. Moreover, sometimes it would come out in the set list that we want the emphasis on the vocals to carry the song, and not rely on the tension of a guitar solo. But in the original version, songs with more guitar solos were a little more comfortable. That’s what I thought about 01. Until then, having a lot of solos made me nervous.
- Recently the acoustic guitar has been shown off as playing a more active role.
Yeah, I feel the acoustic guitar has been deep at the core.
- With that lone sound, the atmosphere of the hall bursts open and is changed in an instant, right?
That’s right. Also, I take great care to create the line of sound with the acoustic guitar so it comes across exactly as I want people to hear it. But the area with the equipment was set up by trial and error. Lately, I think the sound of the acoustic guitar has reached that point. Personally, I don’t like the sound of the acoustic guitar at lives because it’s picked up by an acoustic guitar sound pickup. It’s nothing like the natural sound of the acoustic guitar. Of course, you can’t very well have the pure sound of an acoustic guitar in a live hall, but we would like to try to make it as close as possible, even just a little.
- If possible, then, would you prefer to play a small hall limited to about 100 people so they could hear the undiluted sound [of the acoustic guitar, unaided by pickups]?
No, that’s no good! That would be too nerve-wracking (wry smile). That kind of hall is not at all like me.
- So that method would make the sound echo?
No, the guest seating in the live-house would be too close! It’s no good if it’s too close. If the venue is a small hall where people would have to form only one line to enter, they might not be able to enter as they want. [I’m a little confused by this one. I couldn’t figure out exactly what he was saying. I think he was saying if they played such a small hall, it wouldn’t be comfortable for anyone, including the guests.]
- That’s kind of lonesome, wouldn’t you say (wry smile)? Well, the “cool & beauty” of that speech is not like Aoi-kun. However, your obsession with obtaining that perfect sound is no less than it was in the past.
It is obsession, isn’t it? But the feeling of what is a “good sound” can differ for each person, right? [What he thinks is a “good sound” is not the same for everyone.]
- But with the recording of “Guren”, it seems you can hear a message or story in the considerable use of sound you maintained.
It’s like a drama...ah, the bass really speaks in it. It sets up the rhythm in the beginning of the recording, increases everyone’s excitement and is something that makes for a considerable entrance. When it’s time for the guitar, everyone’s a little slow to leave the studio (laugh). Firstly, if it doesn’t seem that everyone has a proper sense of purpose, I’ll nag at them (laugh). [I think he’s talking about the guys horsing around or dragging their heels during recording. And he’ll nag to get them back on track.]
- You get to the bottom of things by being serious and really getting behind them, huh?
Yeah, I think drama is always hard to deal with.
- Returning to the conversation about the lives, of the 04 hall-tour, was there a venue Aoi-kun would say was the best place?
Yes, a hall with a spacious stage that isn’t hot. If I could have my way, anyway! (Laughs) Any live house with Ruki and Reita [is the best]; they are a rambunctious group (laughs).
- Does Aoi-kun say that such [the tour? the extent of the tour? the success of the tour?] is a reflection of the GazettE’s current position?
Well, we’re certainly not novices, are we?
- That’s very modest.
No, no such thing. I don’t think we try to determine why guests come or don’t, but I really think we’re just a regular band.
- No, I don’t think you’re “regular”.
Really? Recently, it’s reached the point where various people come to view us that way, however... The position we’re standing in...looks to be on the edge, doesn’t it?
- Until now, the visual kei style had not really caught on, but it’s begun to pull away, and has reached the point where it’s recognized as a musical style in the view of different groups of people, right?
If that’s the case, then I’m happy. Nevertheless, for me, it’s not about the interest in one’s surroundings. If not looking from a great distance overhead, it can be said you can’t tell what’s taking place all around you.
- Then you have no interest in the scene around you?
Fellow bands are fighting each other to increase the number of guests [at concerts], however I also consider the circumstances surrounding it (laughs). [I’m not 100% sure on this either. I think he’s saying if you're good, people will come see you, and if you suck, they won’t no matter how hard you try to fill seats.]
- So what’s the future of the GazettE?
It’s hard to say...maybe nothing. We’ll probably just keep improvising (laughs). There are types who are in the habit of releasing things for awhile, then [for awhile] not creating much of anything. Then [later] if they do try to create something, they’re like, “Damn, where was it again?” because many have completely forgotten how [to create good music].
- Do you have a desire to go solo?
No. At this point, in my picture of the future, there are absolutely no plans to go solo.
- Then you’d like to remain a band until the end?
I don’t know about the rest of the band, however, I don’t think they want to go solo either. But if going solo at Budokan went well, it would look good, huh? [I think he means selling out a show at Budokan as a solo artist. That would be a real feat and very impressive for a solo artist.] Right now, I don’t think I’d yet be able to do that. Some time ago, I’d say we were more haphazard, but the GazettE has changed a little, reaching a point where everyone meets and actively participates in music selection. [They work as a team.] We don’t show each other our hands, though, so it’s sort of like playing cards (laugh). To that extent, I don’t know what will happen; I’m not in a position to predict the future. I can say, for the time being, we’ll continue to put out different types of music. We’ll continue to surprise everyone with new ideas – probably starting with [surprising] ourselves (laughs).
- So, any message for the fans?
It’s said that a silent man receives results. Complaining won’t make things come faster. [LMAO I think he’s saying, “Quit bitching, it won’t make us work faster,” or "We're working on it, keep your pants on." I don’t know if this is a Japanese proverb or what. But I LOLed.]
Zdroj:https://distortedaytime.livejournal.com/8038.html
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