AOI ========================================
== There were quite a few days of rest during this year’s Golden Week. Ruki-kun seems to have enjoyed himself on Hawaii, how about Aoi-kun?
== In that case, I think you spent your precious free time well (laugh). Just a little comfortable kind of feeling. Even if you had some time to rest, you’re definitely thinking about music now, right?
葵 - It’s definitely like that in the working process, but it’s not always what I do. Saying that, what I did was doing nothing……… (laugh). I don’t go out, as standard.
== If you had to choose one, you are an indoor type?
葵 – Ah, yes. I’m quite the indoor type. Since I don’t even go out to buy daily necessities.
== I’m worried about you not going out to buy daily necessities. (laugh) And what if you run out of toilet paper?
葵 – In such a situation, I call the manager (laugh) [>_< Aoi! You lazy bum!] It looks like I broke a light bulb.
== In the GazettE’s surroundings, there are some really nice staff there (laugh).
葵 – Exactly. We’re supported (laugh).
== Even if it is only a talk about domestic things, it is that....... (laugh) I don’t think I thought I’d hear such a everyday/ordinary talk, going away from music to the private conversation, let’s listen to a bit more of it. When you’re at home, how do you generally spend your free time?
葵 – Generally....... I play the guitar, I listen to music on my computer, I look at a lot of data that concerns us [The GazettE], that kind of things. It just goes on all day long. I’m doing this and that while the music innocently plays all the time.
== This innocently playing music you mentioned, can you give an example of the things that are there [ what kind of music he listens to].
葵 – It goes on shuffle, and there are really different things there. Jazz is there, hard rock is there, ........ while I’m putting things in order in the room, many things.
== When you do music with the GazettE, things like jazz a little unexpectedly gives the feeling of there being a fan. As one listener’s taste, isn’t it in the rock group? [ isn’t Aoi listening only to rock, since he makes that kind of music himself]
葵 – Hmm. How to put it.........I don’t want to be influenced, I mean. Such a thing, when it comes out, it is unpleasant. When we’re in the middle of making music, and suddenly such a thing comes out [ something he thought influenced him/something other bands did], I’m shocked.
== There seems to be a lot of this ‘phrase’ in this band. It’s similar to what happened to the others [in the band], you’re musicians/artists after all..... .
葵 – It’s unpleasant, isn’t it. That’s why I don’t really want to listen to it [other rock music]. The band’s music is done by a similar formation/composition// Our compositions are similar as a band making music. That’s why, I listen to some music and I want to try it, but I don’t try it......... . When I make music I play the guitar and if a good sound comes out I wonder if I can stretch it/lengthen it, there’s that kind of feeling. That’s my situation. For a proper sense, I’d rather do something in the style I want to do it, and in the end I’d say making a song is easy [if he does it like that]. That’s why, when we talk about the guitar’s phrase coming out, for example, when one of the members brings a piece of music, when it comes to filling it in, I conversely can’t feel the guitar. I hate to have sticky fingers/I hate it to steal from others. That’s why in the little free times...... I brush my teeth, I have a bath and I clean [the flat], and when I do it, suddenly a lot of things come to my mind.
== Huh~~? You suddenly get an inspiration?
葵 – Of course at that time, in the middle of the song I make, I sink into it. When I do it like that, in my head I hum my own special melody. And the way of raising it on/with the guitar may be the shortest way/may be the first shortcut.
== It seems that there’s the phrase when the rhythm of brushing your teeth and the song synchronise. (laugh)
葵 – Yes (laugh). It really easily descends upon me in the bathroom or in the bath. The music flows from the speaker a little way off, the volume gives the right feeling. And this I listen to and I have an inspiration, my own melody becomes the core. Still, it isn’t a shape that can be shown to somebody (laugh).
== The GazettE’s sound of tension was born out of this one normal scene from life, how very interesting. A good/sufficient meaning and a relaxing time, those things appropriate for you are probably the things that give the highest likelihood to a piece of music coming out from you.
葵 – Yeah. And that’s all, in my case. How to say that, at times when I get a feeling of being at my wit’s end, I’ll delete this data the next day.
== Did plenty ideas for the new album’s songs come out from the setting that you mentioned?
葵 – Quite a few. Making the basics of a song and holding a guitar is fast, but when I want to put in a lot of myself, it’s better when I’m not holding a guitar. This time, my own songs weren’t like ‘Yes, let’s do it’ kind of being enthusiastic about, there were a lot feelings of the things flowing in my head which were becoming sounds naturally. Later, basically as a composer I grasped the song-making initiative of the GazettE. This composer’s image was an important thing [for Aoi], for example, even in the middle of the recording, someone suddenly said they wanted to do something like that [ the other/different way] and we had to deal with it. I was also saying my own opinion. There are really a lot of things demanded for the setting, but it’s interesting. There was also fun, and since it was tough I tried not to worry.
== (collecting data day) Even at today’ stage [of making the album], did you still continue to strain every nerve/ you still feel nervous?
葵 – Quite nervous, yeah.
== An interview at such a time, I’m really sorry to trouble you ...
葵 – No, no. It’s an easy victory!
== Oh~ A trustworthy/reliable word that.
葵 – But, yeah, for sure... it’s tiring/I’m tired ... (laugh).
== (laugh) Do your best! The next deep conversation is about the album, to examine the next issue, I’d like to hear about that... . When you compare the previous [album] STACKED RUBBISH, this time’s DIM, what impression has the new one?
葵 – I, as a matter of fact, it was a special case/an exception. Because of the sound, because of something. At that time, there were words like intense/violent and different, even if we said it, that was 2 years ago kind of talk. Now, too ... it was awful/dangerous (laugh).
== If that time’s violence got even more awful/dangerous [now], how did it change, I wonder. I think that the fans’ expectations will rise but first we’ll have to wait for the completion [of the album].
葵 – Yes. For now, if I am to say something in relation to the guitar ... it’s brutal (laugh). Until now, there was too much of ordinary I got that feeling more or less, I think it got a more brutal feeling. I always said ‘a sound full of the GazettE’, but it’s still wrong, it became the perfect ‘our sound’ I think, I also look forward to it.
URUHA ========================================
== This time you’re rushing from the studio here... . Speaking of, this whole while you’ve spent all your time and energy recording.
U – That’s right. I thought that today it [the recording] would pass even more smoothly, but... it didn’t at all (laugh).
== It’s the middle of data collecting [for the album], I apologise [for dragging Uruha out of the studio to come to the interview].
U – No, no. I have the kind of feeling that it’s better to finish work before 6 o’clock (pm), at least for me. When I work more than till 6 o’clock, ... From the work point of view, when Aoi-san and me, the two of us start working with the guitars, we go beyond limits (late at night 0 o’clock) [meaning – they work late], I get the feeling we exceed the limit [of time].
== By the way, the piece of music you were doing before [the interview], what kind of feeling did it have?
U – We~~ll, ... . The kind of surprising feeling of that piece of music from today was that it was the kind of piece containing reductions (laugh). How to say that, I, it’s because the tension is rising now... (laugh).
== You say the feeling was that of a piece of music containing reductions, the representation is terrible... (laugh). Quite downer piece of music, it seems to appear to the imagination like that.
U – Yes, really, it is such a feeling. The more I try to record a good take, the more I fail to do so, it seems (laugh). As for a good meaning. Guitar-wise ‘the feeling of a dark sound’ is what I’m aiming at. From the beginning a dark atmosphere was also to be brought into the piece of music, and with the abovementioned feeling I’m collecting data [for the album]. That’s why for the sound, rather than being pretty, for me, the number one thing I aim at is the ‘bad feeling sound’. I must not make a good feeling, it seems (laugh).
== About that, it’s surely for the [album] title’s ‘DIM’ image, isn’t it? The dark atmosphere, it’s like you can amplify it with the guitar.
U – Oh, yeah. Rather than easy to listen to, I was doing it with the feeling of wanting to give it impact. And, after this, it was the kind of one direction we all wanted to bring out. ……. Until now, we didn’t think about something like that. When making music. Because it is something we haven’t done until now, it became a little disconnected/ it was a bit off, I feel it like that.
== This album, seems to have a little different, new direction that the Gazette hasn’t explored before.
U – This album, it’s not that something changed completely, that’s what I think……… . Because of the time when the songs for the album were made, that direction was completely changed. So far, how to say it ……. Things like a good sound, a sound that has intensity/force, to say this kind of meaning with simple words, I’d say we pursued it/were seeking it. ‘There are no other guys who’ll do it better!’ until that place of course we haven’t come to, it’s not that the way of working so far hasn’t changed at all……… . And even after this, not forgetting and continuing pursuing a goal, at more or less the same level, when we didn’t do the ‘changed thing’ the stimulus didn’t continue. And this, and it will be a good thing if also people listening to will feel they stimulated by the music in a similar way. [either Uruha has just given the most convoluted answer in his entire interview career, or I suck badly at translating...probably the latter ^^’]
== This ‘stimuluating’ you said, did it have a little different feeling during the previous work [album]?
U - It was completely different. During STACKED RUBBISH the level was different, to say something like……… well, it’s like I said too much. At that time, both me and the GazettE, the experience points that we had accumulated were naturally smaller than now. That’s why, ‘I could’ve taken out more [I could’ve done better]’ kind of words of regret and reflection I probably privately had. But, I didn’t want to give up just then…. . Making the best use of that time’s experience I’d say we connected it with the next [album/work], [during the] making of this album, this feeling that there were things [we did] for the sake of raising the level up was definitely there I think.
== Today after this too, because work for that purpose continues........ it’ll be good if good things come out! When you enter the studio, always just like today do you immerse yourself with work for a long time?
U – It’s like that when the recording starts ....... . The preliminary stage. Making songs, it’s comparatively sluggish and there are probably a lot of times when I can’t and when it’s not good. At that time, just in case, I’m holding the laptop but... . As much as possible I try not to wary the brain/memory too much, and I seem to repeat the data all the time. I’d probably rest. While drinking alcohol. [ XD I knew it! - if there is no mention of booze in an interview with Uru, then it’s not an interview with Uru!]
== The one thing that helps Uruha-kun in making songs is sake? (laugh) And, to create a little phrase, you’re inserting an interval into the work...... . Because of this repetition, it gradually takes shape... .
U – Yes. And in this process ‘Ah, that’s probably good..... . ‘ such a thing suddenly appears in my head. And ...... when I get sleepy, I go to sleep naturally.
== Aoi-kun also said that he there are a lot of situations when he suddenly gets a song idea. For example, in the bathroom while brushing his teeth (laugh).
U – (laugh) Aa~ . Me too, it’s a similar feeling. At night big sounds don’t really flow [from me], but during the day there is always a sound flowing, whatever I’m doing, there is always a lot of work. How to say it, this... ‘I must do something....!’ kind of thing but when I’m doing something under the pressure of necessity, reaaaaally nothing comes out (laugh). To come out, it will come out [ when it has to come out, it will come out], but it’s difficult/painful. As for the phrase itself. ‘Ah, it’s impossible...’ you hear and feel like that.
== It’s because a lot of things become apparent. Things like the circumstance of that moment [moment of making a song], the creator’s emotions. It signifies that there isn’t a lie.
U – Hmm. In my situation, more than the feeling you mentioned the phrase was kind of dynamic. Kind of like ‘Ah, it was there!?, drastic things also happened. There are interesting developments, there is the expanse... . The opposite, when the feelings become hard/tight, only very narrow things come out. (laugh)
== It’s not good when such narrow things come out right, not enough for a rock band (laugh). From dynamic to having intensity/force, I’ll pray for the song you’re making now to be like that.
U- The time is a little relentless ... (laugh). To make something better than good, we’ll do our best!
== Ah, now that you mentioned it ... . Aoi-kun said that this time’s guitar will be ‘brutal’ (laugh). While one of them will be ‘brutal’, the other one will be ‘a bad feeling’, what the heck kind of sound is that going to be? ...
U – (laugh) How to say it, a sound roar [actually he used a kanji here that got even two Japanese people absolutely puzzled as to its meaning so I’m creating a meaning based on the kanji here]. It’s like ‘I finished it with a phrase too! ‘ [not sure here; any help? こんなのもフレーズにしちゃうんだ]. The so called sound phrase was there, but about that I, when I started playing the guitar it was greatly unpleasant. Now how I have to use that to make it cool, kind of way of using it.
== The quite violent guitar kind of like a roar, the guitar this time. I look forward to the [album] completion.
U – Yes! So far, the violent thing used, about it .... . Well, the motivation/stimulus is desired (laugh) .
REITA ========================================
== In this interview, we’ll have a conversation about some free time that we had after the first half of this year, and we’ll connect it with the talk about the now being compiled album.
れいた – I understand. Free time ... Ruki-san probably talked about his trip to Hawaii, right? I went to Yamanashi. It doesn’t mean that I did something (laugh).
== (laugh) It’s because the GazettE continues to develop, occasionally spending time sluggishly is also needed. Not doing anything.
れいた – Isn’t it? (laugh). A proper recording interval, right? After finishing recording bass for 4 songs, there were still 4 songs waiting to record ... . And I’d been in the studio for all that time, it was a bit refreshing [to have a rest]. While resting, as expected I was feeling rather uneasy because I didn’t even finish the recording. After finishing recording everything, ‘Let’s go to an onsen [hot springs]!’ I said and when I did it [finish recording], it was great.
== Relaxing in an onsen is good, isn’t it~. When you have some free time, do you do it [ goes to an onsen], do you often go far?
れいた – Ah, no! I don’t really like going out (laugh).
== (laugh) Huh!? Is that so?
れいた – It’s like that (laugh). But I’ve always gone to an onsen. That’s why it’s not really going far ... . When there were the 3 days off earlier, I was tampering with the motorbike all the time. I went to the parts shop every day, I chose the parts, and I did my best at grappling with the parts myself... . I hurt my finger a little (laugh).
== It’s dangerous! Because it’s like the life of a player’s finger, please be careful ... .
れいた – Yes, I apologise ... (laugh).
== You’re the motorbike type? Not the car [type]?
れいた – No, I ride both. I like vehicles. It converts the mood. Like, in the middle of the night when the feelings excel, I go for a little ride. It’s my own custom of riding a motorbike, the feeling is definitely good, ne~.
== About that custom, it’s still Reita-kun’s obsession?
れいた – It is! It’s the form of riding, right. When I ride a bike, for example, and the parts’ shop glass doesn’t reflect my figure? When I see that, ‘I wonder if it’s better to adjust the handlebar a little higher...’ kind of thing (laugh).
== You do minute adjusting of the handlebar (laugh). This too is really a fixation over small things, ne~.
れいた – For a person who’s not interested in that ‘What’s fun about it?’ will be said (laugh). But it’s really fun. That’s why I have two motorbikes, each I could attack [he used the 攻める here and the only meaning I fund was ‘attack’] in exactly the opposite way. One has a lower handlebar, and the other’s is higher, more suitable. ... . It’s like that with the car, but if it’s an obsession, I can’t limit it. It’s called a male romance ... ? (laugh)
== (laugh) So, for example, you’d go for a little ride in the recording interval?
れいた - When I come back [ from the recording] I go for a ride. During the recording, words like ‘I’ll go for a little ride’ I say, but it’s not like I can go out (laugh). That’s why, when the recording/data collecting finishes, and I’ll go back home, I’ll go [for a ride], kind of thing.
== And also the recording this time, while having refreshed yourself, did it give a good feeling?
れいた- Hmm. It’s going more smoothly this time. Because I only did it on the opening/first day, it took a lot of time. Because it was the first music-making [the beginning of making the music], I got into the studio at about 1 in the afternoon... . I made the sound solid and it was about half past midnight.
== Eh!? It was the stage of basic recording before you started [recording properly], right?
れいた – Yes. Since I was recording for some 12 hours, it was terrible (laugh). There was the kind of ‘Has it finished...?’ feeling and it was quite tough, but the second half went quite smoothly and I was relieved.
== That’s amazing... . But, for the sake of a perfect sound coming out, I’d say sometimes you give in to this kind of obsession.
れいた – I also got the sound I wanted to come out, I also had the kind of feeling that I have to go a step up. I’d say last time I had to exceed as well. If it wasn’t like that, it would bother/tease me.
== Reita-kun-wise, if you try to compare the targets of the previous album to DIM, until the stage now, what impression do you have?
れいた – More than STACKED RUBBISH, the place where the width/breadth was long, was long ... . How should I say that? The places which were maniac got more maniac, but I’d say the persuasive power increased. The persuasive power of the songs one-by-one. That’s why ... it’s slowly more and more darker, I think (laugh).
== Also STACKED RUBBISH, if there was the darkness, I think it was substantial ... . This time, you’re amplifying it more?
れいた – Of course even at that time, I thought things we didn’t have until then came out. Can you say that there’s no meaning in a band which cannot bring out even better things [ sounds]? I wonder if you can say ‘growth’.
== About that, the musical composition/tune too, wasn’t there something similar to that up to now?
れいた – I think so. How to say that ... . Similar to ‘a feeling of giving a speech’?
== Aa~.... . Even the last song DISTRESS AND COMA, the sensation is as if somehow or other I have a certain feeling of understanding it. It’s a song where there’s the dynamic, medium tempo and complying power.
れいた – Right. It’s like soaking into every cell one by one (laugh). That’s why this time, ... It’s like the more often I listen to it, the more I want to listen to it. Even more than the first impression, it’s like the more often I listen, the more often I listen to it. As you listen to it more and more, you’ll have a lot of a feeling that there are songs with different feelings handed down. Of course while the impact is there, even if you listen to it time and time again, I’d say you won’t have enough [of it]. I think the impact will last long.
== The impact, I hope it will be long and deeply handed down ... . It seems listener response [ meaning the way people will receive the music, what emotions they will have while listening to it] will be there. This growth of songs as you said, and the reflection of your own [guitar] play, what did you think of it?
れいた – Aa... ... . I’d say musical performance is difficult, like when you’re listening carefully to a slow song. Or should I say, the songs one by one begin to stand out. About minor details, things like the way of taking the sound and the sound’s pauses stopped being difficult.
== I understand. Medium or slow kind of songs, the speed feeling and the attack sounds differ, and that ‘pause’ became important.
れいた – Exactly. There’s the kind of impatient ‘pause’. In the past, I often added more and more to the song, and the sound started being very cluttered. But, how to say this, I’d call it shallow ... . That’s why now, I challenged myself with not packing in too much of sound.
== That’s sure the ‘depth’. It seems that with this new album, you opened a path to new things.
れいた – Yes. Like you said, if we do something challenging, we also learn and it’s fun!
Zdroj:https://guren-void.livejournal.com/3500.html
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