Ruki: The 5 SE songs were put in because of my preference.
Aoi: At first, they were more ordinary, so to say, the rhythm was *** [here he uses some onomatopoeic word that even my Japanese friend had no idea what it was, but apparently it’s supposed to mean that the rhythm was simple], but I thought only about the sound, and if you try to listen to it you’ll have the feeling of there being a meaning and I think it’s good. You want to listen to this flow, to this one album.
Ruki: So to say, it’s not a film, but in this one album there is a sense of an original story and whether [it’s ] a concept album, it probably is a concept album, but more than that there was the awareness/consciousness of wanting to make a ‘great album’. Until now, while dealing with making something new, I thought it was good to say it was a variation album, but this time there was a one coherent version and we wanted to make something that would be unforgettable.
== So, I’d say you wanted to make the GazettE’s principle album?
Ruki: Well, that’s why I’d say that the new things we dealt with, we dared. More than that, the beginning of the GazettE, I really liked the band before from its’ beginning, or should I say I liked the things we did, so [I thought] let’s do them. During a live, weren’t there the most raising [the ones with raising tension the most] songs that we played? And this [album] resembled it. There was an aim.
== This ‘[tension] raising songs’, the sound is heavy but the melody beautiful, right?
Ruki: Right. This is what I grew up listening to. Even so, so far making music and listening to music were different things. But until here, we unexpectedly returned, and giving it a try [we/I thought] would be a good thing. Surprisingly we plunged deeply into it.
== About DIM’s title, more or less when did you decide upon it?
Ruki: At first I thought of DIM SCENE but I thought about DIM around Guren times, inside me.
== You told it the members?
Ruki: I didn’t?
Reita: Yeah, nothing at all.
== In spite of this [Ruki not telling everyone about it] you all presented the ‘gloomy’ songs.
Uruha: There was no talk about the title, but we often talked about what kind of album we would try to do, even before while making the previous single, such a component we kept to ourselves, and thought that it would unmistakably be a dark album.
Ruki : During a meeting when we were choosing songs [for the album] NAKIGAHARA and 13STAIRS [-]1 we continued to leave behind ‘Are these ok?’ we said, ‘I wonder if those are deviated/different?’, I thought but when we tried to scatter them about [within the album] the balance was really good. When I was writing lyrics, I was like ‘What’s that?’ ‘Have I always written those?’ ‘It’s not ok!’ I thought things like that (laugh).
Aoi: In me it wasn’t ‘dim’, I’d say ‘darkness’ started appearing in my head, and songs beyond colours [he used 差し色的 here and the meaning I deduced from the kanji, though I may be wrong] started coming out.
== SHIROKI YUUTSU?
Aoi: Yes.
Ruki: There’s the darkness because of those different colours.
Kai: But, the first impression I had was like that, but ‘Let’s listen to it one more time’ I said during the song-choosing meeting, and when I listened to 13stairs[-]1 one more time, unexpectedly the violence was like ‘Isn’t it dark to that extent?’ kind of feeling that I had.
== It’s certainly dark, which song was also catchy and easy to put in [to the album]?
Ruki : Hmm. The ones which had a distinct atmosphere I’d say. That’s why now the ‘gloomy’ ones give the feeling of pushing it out.
== And also the ones whose melody’s excellence stands out from the others.
Ruki : In relation to the songs to which we put in the singing, they didn’t have the catchy feeling, after singing I myself didn’t think were good.
== I wonder what the GazettE’s principle was?
Reita: The way the melody always raises is the GazettE’s feature. The songs are maniac and I’d say when you listen to them, they are easy to remember. This is the GazettE’s charm.
== It’s not only the melody, the sound too I’d say has got depth, you really have the feeling of watching a film, and I’d also add that the sound one-by-one represents the world view perfectly.
Reita: The sound comes to you like a speech.
Aoi: About the guitar, instead of being cluttered, what you mentioned before is there. Earlier, because the two guitars fluctuated, whatever you listened to you didn’t know if it was made in a good way. This time, the melody raises, there’s Uruha’s phrase, there’s the bass’s phrase, they come out I’d say, the tactics/strategy I noticed is very skilful.
Uruha: Even so, it isn’t only the image of vague and cool guitar play, is it? You have to think about it a lot, right. If there was no meaning, playing [the guitar] wouldn’t be necessary. But more than me being in the GazettE, more than a guitarist, when it [the guitar play] didn’t have connecting power, my existence itself would be negated completely. I was reciting the meaning of my own being. [wow...Uruha...that was deep!]
Reita: At a live about a year ago, before I didn’t return a drum monitor, but it was [done] so that I could hear the whole sound. On top of that, it pulled the whole group. That was the ‘pulling’ related to the previously mentioned ‘sound with depth’.
== Those were the results of the previous year’s doing nothing but touring all year.
Kai: About the GazettE’s drums this time, I noticed that there was a lot of thinking. Earlier, my own play [he actually uses ‘hitting’ here] I thought freedom in it was a good thing, but it was no longer a thing in this band, was it? The good things in the band’s 5 people became 4 people, to make the same things they had to be the best [I had to do the best I could]. It was like that. I think we could only made this album, because the whole band’s approach had changed.
Zdroj:https://guren-void.livejournal.com/3896.html
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