If by any chance we manage to play in Tokyo Dome, I’ll probably be deeply moved emotionally. Even so, I think it will be good.
# You’re in this magazine for the first time in 3 years. The last time was the December 2005 issue, exactly before the NIL album (on sale February 2006), in May you started the Budokan performance period.
U – Oh, that’s right! It’s been a while. Of course talking about Budokan’s beginning, I guess that was a number one turning point. If I think about it [the beginning of Budokan], the kind of feeling wasn’t a young/new/fresh feeling. Having said that, now that it’s finished, it’s not so. I’d say it was like that till the end.
# At what point did you feel the youth/freshness?
U – In regard to Budokan, my eyes probably had a sparkling feeling. At least me.
# Having said that, whose live did you see earlier that you thought was like a sacred place?
U – There was none. That was the first time I went to Budokan….ah, wrong. I saw Miyavi’s live.
# Ah, about this, if you talk about that one that was a long time ago, it wasn’t recently then? (by the way, Miyavi’s concert in Budokan was in 2004). So to speak, when you were a child and went to see a live?
U – No there wasn’t one. I saw Luna Sea’ EDEN live DVD about the time when it was out.
# It’s that generation, isn’t it? (bitter smile)
U – About that live by Luna Sea, the particular impression wasn’t because of Budokan. The place that is directly connected with Luna Sea is Tokyo Dome.
# Well, in the past there were many different artists (in the Budokan), do you have the kind of feeling of a box with history?
U – Well, our first tour final was in Budokan. Until then, for us the tour was a great thing. Even though we decorated that last live, I wonder if it was the appropriate place.
# The tour from that time was the 2006 ‘Nameless Liberty Six Guns…’ But this interview is about: Even though it’s a long tour, it’s enjoyable, kind of talk.
U – Oh, I see (laugh)
# About how many gigs did the tour have?
U – I’d say about 50, though I wonder if we had that many. But I noticed they were good. (explanation note - actually it was 33)
# So, about Budokan, this long and difficult tour’s thoughts have escaped your head?
U – Exactly. All of it.
# What exactly made it difficult?
U – This and that. If I think about it now, it was the emotional part. But there were also many happy feelings. If there were any painful things, the members’ union strength was always stronger.
# The opposite wouldn’t be good, right?
U – If it was now, I would think positive thoughts, but back then I suppose it would be hard. When I get emotional. During making of this tour. Basically, I thought it was impossible for me to get into such a state which I mentioned.
# - You mean, when you are emotional?
U – Yes, Emotional optimism or plus thoughts kind of feeling.
# Surely. Uruha = big hearted image (laugh).
U – I thought about it at first. Then the spirits got kind of low.
# Even though you think you’re a big-hearted and not worrying about anything type?
U – I thought like that about myself, but there are also times when I don’t want to talk to anyone too… And I drink sake before a live by myself. If I think about it now, I thought it looked cute at that time (bitter smile). It seems I can’t run away from sake (laugh).
# With that youth of yours you can’t escape from sake before a live? (bitter smile)
U – Well, I pay a lot of attention to tension.
# Because you’re a human being, it means you fall, but during a live the fans expect 100% of you on stage.
U – Yes, that’s pressure. And its’ varieties.
# Then, when one thing or another happened and the tension was rising, there was alcohol.
U - Because that was a narrow field of vision, that’s why. The me who thought had to give an answer [ not a oral one, but rather the ‘answer’ as a response during a live] ]to the fans, I suppose it [drinking] was a very little thing... I think.
# For whose sake would you say you did it? Maybe you thought you were doing it for yourself during a live [ so that it would be easier for him to perform during a live].
U – The value of the experiences of those days, I still can’t say there is one. I don’t know if I can say I did it for myself. That’s why I’d say I did it for the band… I often don’t know and if I make some action, it is closing my eyes. The actual condition is closing my eyes, really.
# Even though sake reduces your tension, when it’s over (the live) you absolutely don’t degrade/fall down?
U – Well, …it’s because of the confrontation with things that go badly in reality.
# Saying that, even after the live is over, it’s like you once again try to escape into alcohol?
U – Yeah~ well… I wonder if I’d rather drink now… (laugh)
# What? Rather than something like becoming stronger? (laugh) [XD...that person’s so mean...]
U – Thanks to you [ because of you/this situation] (laugh)
# Is that so? (laugh) It’s because it was a very personal first Budokan.
U – That was the meaning in some ways, you have the feeling of being released and also the feeling of not wanting to finish.
# About that first Budokan, the entrance was like professional wrestlers’ entrance (the way of entering was from the guest seating opposite and the stage), that was also impressive.
U – It’s good that you didn’t think otherwise.
# Who told you to do it?
U – We said we’d do it [like that] from the beginning. During making of live in Hibiya, we had the feeling of wanting to make it like professional wrestler (s’ entrance) and the plan came. The truth is, around that time we wanted to do one thing or another, that’s why now there was the feeling of us being able to do it. The previous Yoyogi (on the 20th April, in the Yoyogi National Gymnasium, conducted the Tour 2007-2008 Stacked Rubbish Grand Finale ‘RCE’ concluding performance), so there was the image of the way riding a hammer (giant limo) kind of entrance, but that too was said before ‘I’d like to try to have a limo appearance’. But during the live, we physically weren’t able to have a professional wrestler’s entrance.
# Surely the live was difficult. It’s because you didn’t hide? It’s because during the start of the live, it was still light.
U – We were seen coming/You could see us coming on stage (bitter smile). It’s because it was the Budokan, (we) wondered if it was really possible.
# But finally, the members were crying on stage aloud.
U – Me too, I really thought that it is ok if someone starts crying in public, but I definitely never thought I would do it. But when thinking about crying, I’d say crying with no tears coming out. I couldn’t endure it and steadily the tears were coming out. That kind of tears those were.
# Experiencing that kind of turning point, after Budokan, do you think there was any change in you?
U – Actually, in regard to myself, I started thinking a lot. Things like wanting to quit etc. Well, it’s not that all the time I didn’t ask myself the question. From the start, the band unit approximately thought about the things ‘I want it done in this way, I want it done like that’ kind of words came out and until Budokan it ran. However, there became a lot of things we thought we wanted to do but couldn’t do. When it collided, there was the stress feeling, I became irritated. There were many things to correct.
# The cause of this was the fact that you wanted it to be ideal?
U – When a band wants to be ideal, there is no perfect me. And when I want to be ideal, I’d say the me now is not. And to end, if I wanted an ideal band, I’d have to leave. That would probably be very painful. When wanting to be ideal, the me now couldn’t become one. Still, I didn’t know the method of how to do things I did better. Later the things I didn’t know became numerous. But now I can think of the things ‘The things I didn’t know were numerous’, it’s because my knowledge was not sufficient and I didn’t know. If something was not good, I didn’t know it well, but it was said it was not good. It doesn’t mean that someone didn’t teach me, it’s not school, it doesn’t mean that a teacher was to punish me. But, it’s because I was worried, there were fans who came with genuine pleasure it was difficult there. In order to be able to become a judge myself, it was really difficult.
# So eventually, there’s the thing of not being enough yourself.
U – Isn’t that striking you? Is it good when it becomes a shape? The said ideas don’t bring bad feelings.
# No, it is wonderful that you noticed it.
U - Until that Budokan there was a flow, after that we dealt with recording, but the sound we made returned. That’s why during the next tour I will have the feeling of having grown more.
# If you thought like that, the first Budokan live , the emotional state must have been big, right?
U – It was huge.
# Ok, let’s look at it generally, when you entered the venue one by one, wasn’t it entirely sold out? And the lives, and Shibuya Kokaido [Shibuya Public Hall] (at present C.C. Lemon Hall), and the Tokyo International Forum Hall A sales went without a hitch, you got to Budokan with considerably fast speed. This unusual speed, what feeling did you have?
U – Well ~, about the time of the live you said we did in Shibuya, as the venues we were in were gradually getting bigger, I’d say the feeling was not good, honestly. There was this ‘Where’s the next one?’ And, the more we did them and the more success we had, it was the opposite, and I think the fault lied in the fact that what we didn’t see some things and it was great [for us then]. That’s why, when we went out during the Budokan final it all came out//we had it all, the bitter things/hardships.
# It’s because the place where eyes are looking to the top gives a lot to think. [--> when you aspire to reach the top, you get a lot of things to think about]
U – I was just swept away by the flow of life. I looked at the top as a guitarist and there wasn’t a top either. A guitarist’s skill wasn’t growing/raising, only the venues and the stress were getting bigger I think.
# So, on and after Budokan, the guitar exposure time didn’t increase?
U – Hmm…. I wonder how I should say it…. I, because there weren’t great many opportunities to be affected by people….. the lives and also one man [shows] were the centre and other bands didn’t know that very well. There were times when sensitivity was separated from the guitar, and I think the result was kind of stressful.
# About Uruha-kun, you also had the kind of image of a guitar enthusiast pursuer. For example, collecting EFFECTOR guitars, the kind of trying to collect as many favourite guitars. This thing I said, aren’t you doing it?
U – I’d say that it wasn’t really like that. It’s not that there aren’t many guitarist with a loving feeling. Of course in the past, I longed for a SUGIZO-san [I think Uha has his ESP Hellion that looks like Sugizo’s, ne~], but recently I’ve seen many people who seemed to have enjoyed themselves playing the guitar differently. However, it was the sensation of the whole band’s loudness that I noticed and listened to, and I didn’t really feel it. The guitar’s sensitivity.
# You’re in this magazine for the first time in 3 years. The last time was the December 2005 issue, exactly before the NIL album (on sale February 2006), in May you started the Budokan performance period.
U – Oh, that’s right! It’s been a while. Of course talking about Budokan’s beginning, I guess that was a number one turning point. If I think about it [the beginning of Budokan], the kind of feeling wasn’t a young/new/fresh feeling. Having said that, now that it’s finished, it’s not so. I’d say it was like that till the end.
# At what point did you feel the youth/freshness?
U – In regard to Budokan, my eyes probably had a sparkling feeling. At least me.
# Having said that, whose live did you see earlier that you thought was like a sacred place?
U – There was none. That was the first time I went to Budokan….ah, wrong. I saw Miyavi’s live.
# Ah, about this, if you talk about that one that was a long time ago, it wasn’t recently then? (by the way, Miyavi’s concert in Budokan was in 2004). So to speak, when you were a child and went to see a live?
U – No there wasn’t one. I saw Luna Sea’ EDEN live DVD about the time when it was out.
# It’s that generation, isn’t it? (bitter smile)
U – About that live by Luna Sea, the particular impression wasn’t because of Budokan. The place that is directly connected with Luna Sea is Tokyo Dome.
# Well, in the past there were many different artists (in the Budokan), do you have the kind of feeling of a box with history?
U – Well, our first tour final was in Budokan. Until then, for us the tour was a great thing. Even though we decorated that last live, I wonder if it was the appropriate place.
# The tour from that time was the 2006 ‘Nameless Liberty Six Guns…’ But this interview is about: Even though it’s a long tour, it’s enjoyable, kind of talk.
U – Oh, I see (laugh)
# About how many gigs did the tour have?
U – I’d say about 50, though I wonder if we had that many. But I noticed they were good. (explanation note - actually it was 33)
# So, about Budokan, this long and difficult tour’s thoughts have escaped your head?
U – Exactly. All of it.
# What exactly made it difficult?
U – This and that. If I think about it now, it was the emotional part. But there were also many happy feelings. If there were any painful things, the members’ union strength was always stronger.
# The opposite wouldn’t be good, right?
U – If it was now, I would think positive thoughts, but back then I suppose it would be hard. When I get emotional. During making of this tour. Basically, I thought it was impossible for me to get into such a state which I mentioned.
# - You mean, when you are emotional?
U – Yes, Emotional optimism or plus thoughts kind of feeling.
# Surely. Uruha = big hearted image (laugh).
U – I thought about it at first. Then the spirits got kind of low.
# Even though you think you’re a big-hearted and not worrying about anything type?
U – I thought like that about myself, but there are also times when I don’t want to talk to anyone too… And I drink sake before a live by myself. If I think about it now, I thought it looked cute at that time (bitter smile). It seems I can’t run away from sake (laugh).
# With that youth of yours you can’t escape from sake before a live? (bitter smile)
U – Well, I pay a lot of attention to tension.
# Because you’re a human being, it means you fall, but during a live the fans expect 100% of you on stage.
U – Yes, that’s pressure. And its’ varieties.
# Then, when one thing or another happened and the tension was rising, there was alcohol.
U - Because that was a narrow field of vision, that’s why. The me who thought had to give an answer [ not a oral one, but rather the ‘answer’ as a response during a live] ]to the fans, I suppose it [drinking] was a very little thing... I think.
# For whose sake would you say you did it? Maybe you thought you were doing it for yourself during a live [ so that it would be easier for him to perform during a live].
U – The value of the experiences of those days, I still can’t say there is one. I don’t know if I can say I did it for myself. That’s why I’d say I did it for the band… I often don’t know and if I make some action, it is closing my eyes. The actual condition is closing my eyes, really.
# Even though sake reduces your tension, when it’s over (the live) you absolutely don’t degrade/fall down?
U – Well, …it’s because of the confrontation with things that go badly in reality.
# Saying that, even after the live is over, it’s like you once again try to escape into alcohol?
U – Yeah~ well… I wonder if I’d rather drink now… (laugh)
# What? Rather than something like becoming stronger? (laugh) [XD...that person’s so mean...]
U – Thanks to you [ because of you/this situation] (laugh)
# Is that so? (laugh) It’s because it was a very personal first Budokan.
U – That was the meaning in some ways, you have the feeling of being released and also the feeling of not wanting to finish.
# About that first Budokan, the entrance was like professional wrestlers’ entrance (the way of entering was from the guest seating opposite and the stage), that was also impressive.
U – It’s good that you didn’t think otherwise.
# Who told you to do it?
U – We said we’d do it [like that] from the beginning. During making of live in Hibiya, we had the feeling of wanting to make it like professional wrestler (s’ entrance) and the plan came. The truth is, around that time we wanted to do one thing or another, that’s why now there was the feeling of us being able to do it. The previous Yoyogi (on the 20th April, in the Yoyogi National Gymnasium, conducted the Tour 2007-2008 Stacked Rubbish Grand Finale ‘RCE’ concluding performance), so there was the image of the way riding a hammer (giant limo) kind of entrance, but that too was said before ‘I’d like to try to have a limo appearance’. But during the live, we physically weren’t able to have a professional wrestler’s entrance.
# Surely the live was difficult. It’s because you didn’t hide? It’s because during the start of the live, it was still light.
U – We were seen coming/You could see us coming on stage (bitter smile). It’s because it was the Budokan, (we) wondered if it was really possible.
# But finally, the members were crying on stage aloud.
U – Me too, I really thought that it is ok if someone starts crying in public, but I definitely never thought I would do it. But when thinking about crying, I’d say crying with no tears coming out. I couldn’t endure it and steadily the tears were coming out. That kind of tears those were.
# Experiencing that kind of turning point, after Budokan, do you think there was any change in you?
U – Actually, in regard to myself, I started thinking a lot. Things like wanting to quit etc. Well, it’s not that all the time I didn’t ask myself the question. From the start, the band unit approximately thought about the things ‘I want it done in this way, I want it done like that’ kind of words came out and until Budokan it ran. However, there became a lot of things we thought we wanted to do but couldn’t do. When it collided, there was the stress feeling, I became irritated. There were many things to correct.
# The cause of this was the fact that you wanted it to be ideal?
U – When a band wants to be ideal, there is no perfect me. And when I want to be ideal, I’d say the me now is not. And to end, if I wanted an ideal band, I’d have to leave. That would probably be very painful. When wanting to be ideal, the me now couldn’t become one. Still, I didn’t know the method of how to do things I did better. Later the things I didn’t know became numerous. But now I can think of the things ‘The things I didn’t know were numerous’, it’s because my knowledge was not sufficient and I didn’t know. If something was not good, I didn’t know it well, but it was said it was not good. It doesn’t mean that someone didn’t teach me, it’s not school, it doesn’t mean that a teacher was to punish me. But, it’s because I was worried, there were fans who came with genuine pleasure it was difficult there. In order to be able to become a judge myself, it was really difficult.
# So eventually, there’s the thing of not being enough yourself.
U – Isn’t that striking you? Is it good when it becomes a shape? The said ideas don’t bring bad feelings.
# No, it is wonderful that you noticed it.
U - Until that Budokan there was a flow, after that we dealt with recording, but the sound we made returned. That’s why during the next tour I will have the feeling of having grown more.
# If you thought like that, the first Budokan live , the emotional state must have been big, right?
U – It was huge.
# Ok, let’s look at it generally, when you entered the venue one by one, wasn’t it entirely sold out? And the lives, and Shibuya Kokaido [Shibuya Public Hall] (at present C.C. Lemon Hall), and the Tokyo International Forum Hall A sales went without a hitch, you got to Budokan with considerably fast speed. This unusual speed, what feeling did you have?
U – Well ~, about the time of the live you said we did in Shibuya, as the venues we were in were gradually getting bigger, I’d say the feeling was not good, honestly. There was this ‘Where’s the next one?’ And, the more we did them and the more success we had, it was the opposite, and I think the fault lied in the fact that what we didn’t see some things and it was great [for us then]. That’s why, when we went out during the Budokan final it all came out//we had it all, the bitter things/hardships.
# It’s because the place where eyes are looking to the top gives a lot to think. [--> when you aspire to reach the top, you get a lot of things to think about]
U – I was just swept away by the flow of life. I looked at the top as a guitarist and there wasn’t a top either. A guitarist’s skill wasn’t growing/raising, only the venues and the stress were getting bigger I think.
# So, on and after Budokan, the guitar exposure time didn’t increase?
U – Hmm…. I wonder how I should say it…. I, because there weren’t great many opportunities to be affected by people….. the lives and also one man [shows] were the centre and other bands didn’t know that very well. There were times when sensitivity was separated from the guitar, and I think the result was kind of stressful.
# About Uruha-kun, you also had the kind of image of a guitar enthusiast pursuer. For example, collecting EFFECTOR guitars, the kind of trying to collect as many favourite guitars. This thing I said, aren’t you doing it?
U – I’d say that it wasn’t really like that. It’s not that there aren’t many guitarist with a loving feeling. Of course in the past, I longed for a SUGIZO-san [I think Uha has his ESP Hellion that looks like Sugizo’s, ne~], but recently I’ve seen many people who seemed to have enjoyed themselves playing the guitar differently. However, it was the sensation of the whole band’s loudness that I noticed and listened to, and I didn’t really feel it. The guitar’s sensitivity.
Zdroj:https://guren-void.livejournal.com/4451.html
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