Orchestrated Chaos

-And be honest with me, after the first day, were you able to get any satisfaction?

K: No. My initial feeling was: “We can’t go on like this”. Every time we play in a big arena I feel like we want revenge. I felt that we had to step it up. There was that sort of pressure after the first day, but surprisingly, I felt none of that sort of pressure the second day. I was able to walk on stage like any other show and play the guitar like another show. I felt no stress at all. I think it’s rare that I was able to stand on stage that naturally. But then again, I guess I got over it and I had the mindset that there was no way we can do worse than the first day (laughs).

-I don’t like to determine whether a show was good or bad depending on how the sound was. I felt that the first day’s sound wasn’t the best but I think there was an inspiration beyond those minor problems. But when I saw the second day where everything seemed to fit together and flow really well, I thought to myself, “This is how it should be”.

K: Yes. The first day should have been like that. We showed something that was very regretful to us to the people that were only able to see us the first day. That’s completely our fault. Yes, as a result, we wouldn’t have had our second day if we didn’t have the first day, but I wish we could have nailed both days.

-Did you have a feeling of revenge after the Osaka Castle Hall show?

K: Yes. But, I had a feeling of revenge towards “UROBOROS”, not Osaka Castle Hall. We weren’t able to express ourselves as much at the point. Honestly, we knew that that would happen but we also felt that we needed to nail it. But because of that, we couldn’t. Simply for the reason the “UROBOROS” wasn’t as clear in our minds as it should have been. Rehearsing it over and over didn’t mean that it would sink into our minds.

-But at that point you already knew that the story was going to end at Budoukan, correct?

K: Yes. But I didn’t have a clear image of what the landing point would have looked like. I just kept in mind that we would play Budoukan like any other show. The tours in the spring after Osaka Castle Hall, the tours overseas, the tours in the fall… It shouldn’t be any different from that. That’s how I thought of it. Basically, every show was played as if it were the tour finale. Budoukan just happened to be in its time and so we happened to put an end to it so we just had to do what we always do in Budoukan. We play every show so that we won’t have any regrets. The mindset of being able to nail it at a large arena was actually only in Osaka Castle Hall since it was the first time we were presenting the whole album in front of an audience. Every show after that, including Budoukan, is all the same. Feeling wise (as in to play like there was no tomorrow).  I felt that if we did that, we would see an interesting scene at Budoukan. So instead of playing a “special show” somewhere, I thought that playing a show like it was a usual thing was the best way of feeling good. Of course, we would change up our presentation depending on how big the gig is. We felt that we shouldn’t consider anything else.

-So there was no need of preparing surprises for larger gigs?

K: Of course we played songs that we rarely play but that wasn’t because we thought “we should play this song because it’s the place”. We wanted to treasure our style and our flow that we have developed over this year. We wanted to express what was filled in our existence in the two days. Of course we had a limit of what we can play and that’s not all we can do. But as a result, I feel that I finally have a memory at Budoukan.

-You actually have a stronger memory at Osaka Castle Hall?

K: Yes. We actually played at Budoukan four times. Four times during our Indies, during “MACABRE”, twice during “Withering to death.” and the two days that we did this time around. Until now I felt that if we were to play a large show with a big audience, it would be this place. (For those of you who don’t know, Budoukan is sort of a sanctuary to play shows for Japanese bands) But after the two days, my feelings changed. It’s starting to become a more important place. I see it as “a show that we played at Budoukan”. I think the reason lies there.

-I think you can say that STUDIO COAST or Nanba Hatch is more like your home ground. I think you can say that the DIR EN GREY you watch there is more natural. And I think Budoukan has made the thought even stronger.

K: I think so too. Actually I was a bit nervous the first day, but it was really not much different from playing at STUDIO COAST. I only thought “it’s only a little bigger than any other show”.

-And as a result, “DIR EN GREY’s Budoukan” was able to formulate.

K: Yes. That’s why I’m glad we did this. But that doesn’t mean that if we had the chance we would do something similar. I think the people that watched were able to see “DIR EN GREY playing at Budoukan” naturally, not “they’ve finally made it here!” or “it’s special because it’s Budoukan,” but more like “I want to see them at Budoukan again”. Of course, people probably like to go crazy at smaller gigs though.

End of Part 1

-That sounds like people are holding back. There’s no way no one wants to not watch you guys again at Budoukan. Kaoru: If I had to choose between watching a band I like at Budoukan or STUDIO COAST I would go to STUDIO COAST. It’s not like I’m going there to watch the staging. But if I knew that there was something I can only experience at Budoukan, then I would choose Budoukan. -I understand what you are saying. And in reality, I don’t think I’ve ever seen a show like that but I was able to watch it very naturally. There wasn’t any feeling of seeing a completely different DIR EN GREY.

K: Including those aspects, I’m able to think that it was a good show. The problem is that people compliment us so much that it was kind of weird (laughs). It kind of tickles. I get the feeling that we’re doing something wrong (laughs). We’re not very used to getting compliments (laughs). -Aside from the compliments of the press—including me (laughs)—the feedback from the fans was great as well, especially at the very end of the second night. The whole crowd singing at the moment (He is referring to when the music video of “Hageshisa to…” was first shown) was just astonishing.

K: We were all watching from the side of the stage. We were there partly because we wanted to see the reactions to the clip but depending on the situation we were ready to play another song. Of course we felt that there was nothing more to do after we ended with “VINUSHKA” but we were ready to go just in case. But when the singing reached my ears…I felt my eyes burn. And it was followed by applause. I didn’t think shows could end like this. It was a new feeling. I felt that we shouldn’t go out anymore. Usually we announce our next release or display some sort of message. Well, we actually didn’t have anything to announce (laughs). But the music clip did it all. As a result, it was good we didn’t play. I don’t know but I have a feeling that if we did end up playing, I don’t think they would ever let us play at Budoukan again (laughs).

-That was a very good decision. And more than anything, no one would have been able to feel a great reverberation.

K: Exactly. Instead of ending with the same old, we wanted to treasure that moment.

-I feel that after the two nights, “Hageshisa to…” represented an even stronger image of what will be the next stage after “UROBOROS”.

K: As a result, yes. Even though it’s a very heavy song it felt very refreshing. It may sound weird but I think it’s a song that makes you feel positive. And we didn’t even try to make it like that. It’s kind of like darkness, but it is emitting light.

-I guess you can say that it’s a song that represents Dir en grey at this point.

K: Yes. As far as what’s next after “UROBOROS”…But then again when “DOZING GREEN” was completed we didn’t even have “UROBOROS” in mind but as a result it was something that gave us a hint of what was coming next. Just like that, “Hageshisa to…” might be a prophecy.

-Does that mean the next album would be…a refreshing album? (laughs)

K: You never know (laughs). But then again, when we actually go to write the album, it becomes more and more corrupted. I don’t know if I’m allowed to say this but I have somewhat of an idea. There are many things we haven’t tried yet. It’s not the matter of the different kinds of music, but more like “what if we make this kind of thing?”

-So you haven’t necessarily found a new path, but more like you want to challenge more things?

K: Yeah. I don’t think we should think about direction. I think it’s okay if we still play around. We’ll just keep on trying new thing and when the time comes to put it all together it will come together naturally. So it might be even better to just do whatever.

-Perhaps, in a way, the end of “UROBOROS” gave Dir en grey more freedom.

K: Yes. We wanted to express ourselves as much as we could have and test our limits. That was the feeling we had for that album. I think we’ve gained more “power” after we completed that album and I think with that “power,” we’re able to do more exploring now. I think that will bring us new power. -For instance, the fans that thought “DIR EN GREY wasn’t like this” might feel that it’s normal if they listen to the next album?

K: I think so. But, of course, that wouldn’t change what we want to do and our goal wouldn’t change. I don’t think we’ll ever end up making a happy-go-lucky song (laughs).

-I would like to listen to that (laughs). Anyways, now you’re in the mindset of “we don’t know where to go but let’s just move on and try anything that come up.” Even though “UROBOROS” is over, the “chasing your own tail” sort of process is still going on. The only difference is that this time, you’re able to have more fun with it.

K: At least for now (laughs). I think we will suffer as time goes by. I already have idea where we might have the most trouble with. But even those thoughts make me feel happy.

-Basically, you’re having fun with DIR EN GREY.

K: Yeah. It’s really fun right now. That’s why this time around we were able to think that not worrying about anything would bring out a good show. We know that the band is in a really good condition so if we play as it is it’s given that we will play a good show. We had confidence there.

-Although, for over a year now, I’ve talked with each of you about “UROBOROS” but I didn’t have a single idea of how it would turn out. To be honest I thought “and even though ‘UROBOROS’ ended, DIR EN GREY’s journey of finding themselves will go on forever” (laughs). I didn’t even imagine that our talk would end on this good of a note.

-It’s ironic. Even though the sound was very bad the first night, as a result it seems like it was a trial to prepare you for the second night.

K: That’s true. After the first night many people complemented that it was really good. But since I had an image of how it could have turned out, I just felt like “This isn’t it!”. I was frustrated that people were saying it was good to that. But after the second show, some people I know that saw both nights seemed to have noticed my feelings. -These two nights were what you would call the end of “UROBOROS” but you would never know how it would turn out right? Were you anxious or scared at all? Did you have any pressure that you had to make it a good show?

K: Well before that, it was revenge for the Osaka Castle Hall: that’s always been in my mind. When we first started from there, my throat’s condition was really bad. Of course, I prepared beforehand so that I’m able to perform at my best and I gave it my all but as a result it ended up being something that I really didn’t like.  From that moment my goal was to make the end “more than perfect”. The evolution of “UROBOROS” was also important but I’ve constantly stared at the end from the beginning. To be honest, all the shows before these two nights were just there for me to grow. That’s why the first night was just regrettable. It was all so bad but I wanted to do the second night both nights.

-If you did do the second night on the first night, who knew what could have been of the second night.

K: It could have been even better (laughs). Anyways, all this time I was thinking about the two nights and I was thinking that the two nights were one show. I concentrated on that and tried to keep my condition the best. Well, of course I’m constantly doing that. I think I can say that I’m doing everything I possibly can.

-And yet, you’re betrayed at the most important parts.

K: Yeah. I wonder why. Maybe it has to do with the environment changing. But for Budoukan, I can just go there from my house. So it’s easy to prepare my condition. If it’s across the country or overseas it’s much different and it’s difficult. In that sense, Budoukan was easy to get ready for and I didn’t have to think about it too much. But I did have the feeling of “If I don’t do it here, I will regret it for the rest of my life” kind of thing. That’s why when it was over, I felt a sense of emancipation. Being able to say “Otsukaresama” to the camera was evidence that something inside of me was over. The revenge was a success, in other word I beat myself. The fans that always watch, I think, had an idea of my conditions. If those people saw the show, they would be able to understand for the most part without saying a word. I think that’s why people stayed even after the show.

-The crowd singing “Hageshisato, …” after the performance on the second night. I felt that this wouldn’t have been possible without the fans of this band. K:  I was simply happy. I was watching from the edge of the stage, but that was a great sight. I felt a strong connection.  Stronger than before. -You guys were able to make a strong relationship.

K: Yes. But, although I was happy, I was kind of pissed as well. I thought, “Why now?!” (laughs). “If you guys can do this now, why didn’t you do it from the beginning?!” (laughs)I know I’m repeating myself but I tackled this show as revenge from the Osaka Castle Hall Show and that was my main reason. Even before that I’ve been “singing” more. It’s kind of a weird thing to say but I shifted my emphasis onto more “singing”. Before, when we would release live recordings, I purposely chose live recordings that I didn’t sing so well on. I’ve had my own reasons but I got a lot of feedback saying “Basically you can’t perform your own songs right?” I really hated that. And I got things like “You’re just running away by stirring up the crowd.” I hated it even more when I had to explain that I CAN sing it. So, my answer to that frustration was Osaka Castle Hall. I wanted to make them shut up there. But I couldn’t and I was even more frustrated. That’s why the way Budoukan ended simply made me happy.

-The Kyo at Osaka Castle Hall and the Kyo at Budoukan. Other than the time that passed, what do you think the difference is? K: The presence of that frustration. I think it lies there. Of course, I’ve dealt with many frustrations in the past and there was something that was piling up inside me. There were times where I was able to sing overseas, out of all the show. I just thought “Why now?” (laughs). Of course there are shows like that in Japan but it never stabilizes the way I want it to. Not everything goes the way you want it to. Even if my voice is able to express myself the way I want to, my mind isn’t up to the task. A “scripted show” is easy to do though. And, as a result, everything happened to go well and that just happened to happen at Budoukan.

End of Part 1

-But, I think the result of Budoukan didn’t just happen by coincidence or luck. If you think of it that way, the title “UROBOROS –with the proof in the name of living…” symbolizes that idea. This is the translation of the lyrics (ikiru toiu na no Akashi wo) in “Ware, Yamitote…” right? Proof of existence. Not just the show, but I came to realize that this was the theme for “UROBOROS”.

K: Yes. When the album was finished, I thought “this is us”. Of course I think that way for every album we complete, but this one had the strongest feeling. I just think you have to be constantly looking for yourself. A new self. You have to keep finding yourself. Basically I tend to deny my past (laughs), so no matter how great of a song we write, I can only look at it as something finished.

-So you are already denying “UROBOROS” and Budoukan?

K: No, I don’t want to deny that yet (laughs). But, I want to work on the next project.

-Just as the lyrics in “Ware, yamitote…”, proving your existence is “Tomorrow’s requirement” (Asu no jouken)?

K: Yeah. If I don’t continue that, there’s no reason of my existence. Something that we can be satisfied with…Of course the bars are raised every time we write something but that’s the fun part for me. Even though I say I deny the past, it’s not like I deny every single aspect of it. It’s more of a “I was still young” way of looking at it. I mean it’s never good to say “I was the best back then” right? I don’t want to be a person that’s so attached to their past. I just want to go forward. At least for now, I’ve never felt my limits being tested this far.

-But from now on, the two nights at Budoukan will be the “standard”. Even slightly falling below will automatically mean you guys “slowed down”.

K: I’ve thought the same. But I’m not worried about that. I’m sure some people will think they have to surpass it or that they are obligated to it as a job, but for me, and I know this isn’t the best way to put it, it’s like a “game”. I’m the kind of person that needs to be interested in what I’m doing; otherwise I can never give it my best. For a long time. So I think this still has a lot of potential for me to pursue in. And, if we continue with Budoukan as a standard, Dir en grey and the fans can develop a lot in many aspects.

-I see. I know the topic is going to change but I want to ask about the images used for Budoukan. There were many that were very eye catching. For example, some were strictly designed to express “pain” but I’m sure some people only look at it as simply grotesque.

K: Probably. For example the “Hageshisa” music video. To me that’s actually “catchy and cute” (laughs). I don’t care if people like it from around the world or if it can be aired on TV or not. I see it as a piece of work, not a tool for promotion. As opposed to that, I think the images used in concerts are more personal; whether it’s focused on the mental aspect or the realistic expressions. So I’m sure there are people that look at those images and feel uncomfortable. But even if your uncomfortable or not, to us it links with the song and there’s the truth in it that we want to show. And I say link like it’s a simple thing but there are numerous ways that fits the song. And “fits the song” isn’t as easy as it sounds either. I want these works to show a different perspective than when you are listening to the CD at home.

-But, if the images are too graphic, people tend to think more than they are supposed to be. For example I don’t think it would be surprising that some people might take “VINUSHKA” as a song about war.

K: Yes. I understand that as well. I presume to say that most people with the right mind will understand. The people that have the right mind to understand will understand. I think it’s perfectly fine if someone can gain something from a prejudice.  And for the people that understand the something is bound to be misunderstood in a certain way… that just means that they know it doesn’t mean the way it could be misunderstood. For me I’m more afraid of people wanting things to be more simplified rather than something that could be easily misunderstood. After all it’s impossible for everyone to have the exact same ideas as you do. I think its good enough for someone to slightly understand. It goes the same for lyrics. I don’t want to dictate someone to understand something. I don’t want to scold anyone and I don’t think rock is that kind of thing. I’ll just attack it my own way and if there are people that want to come along, that’s totally fine. Every person has an individual mind and obviously everyone thinks differently. That’s why “becoming one” is something difficult.

-To become one.  It doesn’t necessarily mean that each individual is on the same page. In other word, DIR EN GREY wants each individual to become one correct?

K: Yes. I’m not saying to ask for unity of a number of people.

-Now the topic of “UROBOROS” as a piece of work. As of now, what kind of meaning does this album hold to DIR EN GREY?

K: Something really important, DIR EN GREY’s…”core” I guess? I don’t know how to say it but the image of “us” is more clear within ourselves. We were able to understand ourselves in a deeper aspect and we were able to successfully prove ourselves as DIR EN GREY.

-The proof is more towards yourselves rather than the fans?

K: Yeah. A proof for us to find out who we are. I’m sure all of us thought that way since we released “UROBOROS”. After all of that, I’m excited to find out what kind of new things are going to be brought to this world and the first step was “Hageshisa…”. I realized that was the result of being able to digest “UROBOROS”.

-As of now, do you have a hunch about what the next album will be like?

K: It’s not like I can tell what kind of songs are going to come up but…I think it will be something more mysterious. I think we can all agree that we are craving something we’ve “never heard before”. If that feeling takes form, I’m sure it will become mysterious. But, no matter what path DIR EN GREY chooses to take, DIR EN GREY will always be DIR EN GREY. If we only leave to good parts and take in many new things, open the lid and we’re still DIR EN GREY. And it will never be “What? They could only go this far?”.  I think being able to constantly shape those kinds of things is very idealistic.

-“THE MARROW OF A BONE” was something “the DIR EN GREY at the time” personified as opposed to “UROBOROS” had 2008’s ideals projected, despite the past. The things you guys are about to shape is the ideals that lay beyond this point?

-You said you felt like you “murdered” it, which is a very graphic explanation (laughs), but when you say that do you mean you’ve murdered a monster by the name of “UROBOROS”?

T: Yeah, that might have not been the best way to put it (laughs). We’ve been explaining that “UROBOROS” was “something that linked our past and future”. It seemed like the chain that was holding it together just snapped at that moment.

-Like a chain that was holding you down just loosened up?

T: Well…it’s kind of difficult to explain it with words…it just seemed like something popped. Ever since we wrote that album I always had the mindset of trying to take in and digest many things and try to build something that we had in mind but I feel like I’ve been set free from that unexplainable dilemma and I’m stand at a place where words can’t describe. I feel like things that seemed unclear to me cleared up after Budoukan. Up until now, we’ve been saying a lot of stuff about how our perspective is but that was still something that we couldn’t explain very well.  But at Budoukan, I feel like we were able to emulate it really close to the image we had. So I felt like I’ve gained so much out of that. After it ended, I looked at all the reviews that the fans fill out and I noticed no one really focused on the small things. There were a lot more of “It was so amazing!” And I think that means that people were able to see it how we saw it.

-It was the same for the Osaka Castle Hall show in the aspect of trying to show the perspective right? When you think about it now it was an adventure. Do you think it could have even been possible to do what you did at Budoukan at Osaka Castle Hall?

T: No. And if you put it that way, yes I think it was sort of an adventure. But I think we were able to go to Budoukan because we had that experience. Because we thought we weren’t that good then, because we thought we should have done more things here and there we were able to draw our ideals towards Budoukan. So I think it was a inevitable fail (laughs). The funny thing is, we didn’t even think that we could do something perfect at that stage. But of course there were images of what we considered to be a success.

-So in a sense, you guys just wanted to build up the outer shell of the image of “UROBOROS”?

T: Basically, yes. It looks like a huge castle but when you look at it closely it’s actually only a board (laughs). But we knew from that beginning that we would work on the inside and gradually complete it. We were finally able to sit down and think “What should we do next to move on?” after we’ve done Osaka Castle Hall and a bunch of tours. And this is a personal opinion but I had a lot of fun. The road from making “UROBOROS” to Budoukan. And when I say fun I mean I was able to have an adventure.

-So you didn’t really have the mindset that you “had to do it” (as in it’s his job)?

T: Yeah. Every tour I had an idea of what I wanted to do and I was able to constantly try things out. Whether it was my playing, my sound or how I showed myself, I was able to try many new things. So I guess in a way the tours we did for “UROBOROS” were very…experimental.

-Simply put, there are a lot of songs that are troubling. For example, even if one found an answer, one wouldn’t be able to apply it to every “UROBOROS” song.  Each song demands something different. Didn’t it feel like you were wearing very heavy weights this whole time you were touring?

T: Yes. But that was the fun part. It was testing how far we can go wearing a manacle.  That was required for “UROBOROS”. I think freedom only exist because there are limitations. Doing whatever you want in a place where there isn’t any limitations, to me, is not freedom.

-So you’re saying being selfish and being free is different?

T: Yes. I think when people are tied down to restriction people are more like to desire what they would want to do. When they are restricted to manacles or cuffs they are then able to realize what kind of freedom they want. So back to us, we were locked in a cage called “UROBOROS” and then we question ourselves: “How can we have fun in here?”  I thought like that. And the freedom I desired changed as we played shows day by day and that changed my thought patterns. But I think I was constantly thinking to myself “How would I approach this under this kind of circumstance,” whether that was about my playing style or my way of expressing things.

-If you looks at each member the staging is completely different. But as diverse as it is, it blends very well.

T: Well, we’re a band so…I don’t know how to put it. I guess it’s because we’ve through so much together. I was really helped by the other members trying to push my back along the way and I want to be a person that will be able to do the same for them. I think we have to continue being influences to each other.

End of Part 1

-For example you guys don’t sit down and tell each other “Since this time we made this kind of album, we should all be like this”?

T: No no. That’s why everyone should wear what they want and act the way they want. We each have our own intentions and because it is the five of us, we make up DIR EN GREY.

-I think outfits would be a good example to talk about. For instance do you ever think “Oh, he’s going to be wearing that so…” ?

T: No. We don’t ever think about the other members (laughs). Well at least I don’t. We’ll never wear similar things anyway.

-Saying “never” is a bit unsafe isn’t it?

T: Maybe, but I don’t really care. Well, I don’t think the five of us would wear skirts and even if that were to happen I think I would be the first one to stop wearing them (laughs). Every year my thoughts that I should do what I can only accomplish get stronger, including things like fashion. Of course as a band there are things that I shouldn’t do but within those restrictions, I feel free. I just do what I feel like doing at that exact moment.

-Things you can do and things you want to do. You probably had more things you wanted to do in the past?

T: Probably. But…to be honest, as I age I think the things I imagine become more and more realistic. Because I’m learning more I feel that the range of what I’m able to imagine is getting narrower. Well, I guess that means that I’m able to understand things before I even imagine it. But as a result , I tend to say “oh, I can’t do that,” before I even try. I don’t think that’s good. If I think that way too much I don’t think I’ll be able to think of new things. I feel like my ideas are weakening. Of course I’ve tried not be draw myself to early conclusions. Back in the days when I used to put make up all over my face, I think my head was full of imaginations. I was trying so hard to bring out the images to the real world. But now, I’ve become more sophisticated. Yes, even I have become sophisticated (laughs). Someone that has been doing something that flashy has become so normal as he aged…that’s what I feel like.

-So you feel like you can’t bring yourself to your full potential?

T: Yes. And it’s fine if it just ends there but I thought “That would probably affect the songs and phrases I write”. If I think about it that way…I guess I was trying to interfere with the infinite loop by the name of “UROBOROS” with my own hands. Just like that, I had a lot of things on my mind. That’s why I think this year was so fun. And thankfully, we’re able to play shows at many different places and we’re able to watch bands that we’ve like for a long time. Of course it’s inspiring but at the same time my thought that “we have to go somewhere else” gets stronger. I don’t think it should end as “it’s an honor” or “I’m so happy”.

-An example would be Duff McKagan. A while ago, you guys happened to stay in the same hotel and you drank with him. At the time your honest feelings were”I’m so happy to meet you”.   But fast forward a few years to last year’s Download and a couple festivals in Brazil. You guys shared stages but his appearance was a lot earlier than you guys.

T: Yes. And of course I didn’t think we were “better” than him. But there is no doubt that we were standing on the same soil. It’s like if we stretch out our arms he would be in our radius. When I noticed that I thought if I thought like how I used to I would be done. When people that you used to look up to are standing where you are, that’s when you have to realize that you have to step it up.

-I think the way you approach things overseas is like facing a crossroad, choosing a path.

T: Yes. Not too long ago I remember thinking “I’m so glad I’m playing at this festival” and I thought if I could just look into other perspectives. Of course, I still think as of now that it is a great honor to be playing at these kinds of places. But it’s a little different. We have to fight. We have to take on so many rivals. Even if it’s completely foreign soil, we have to approach it as an “experiment”. As a result, I started thinking that there isn’t much time left after all.

-The time you’re left with isn’t unlimited?

T: Yeah. I can’t afford to approach things in this mindset anymore. I have to be considering that all the time. I have to feel endangered. Otherwise I don’t think anything will be left no matter what I do. It’ll just end with “That was fun”. That’s just a “memory from the journey”. To be honest, I’m in a hurry. Even though there’s a limit to time, I still have many things I want to do. I know this band still has the potential of becoming more interesting and I’m having fun with it.

-In a way you guys are your own producers, playing around with Dir en grey, in a good way.

T: Yes. That’s why we all think more about how to present things as a band rather than how each of us looks in the band. I wish we had another set of eyes so we can see ourselves in the third person perspective. But obviously that’s impossible.

-Say you were able to do that, how do you think you would feel?

T: I think we’re the coolest band right now (laughs). Even comparing with other bands, I think this band has been doing the coolest things, or I should say I can be prideful about it. That’s because we meant to be that way. Of course “the grass is greener on the other side” but I don’t want to think that that’s something we can never accomplish. I just think that “If we can do it, we’ll do it better”. Maybe I shouldn’t praise ourselves too much (laughs). But don’t forget that at the same time we feel endangered. But then, somewhere inside of us, we vaguely think that we know we can do it. That’s not like telepathy or anything. It’s just that we all have the mindset that if we give up before we even start, we’ll never be able to accomplish things that we would be able to.

-So as of now, do you see where you guys are going to be?

T: Well, it’s not like we have a blueprint of our next album and I feel like I don’t have a new compass to guide me yet. “Hageshisa…” may be one step after overcoming “UROBOROS” and we don’t think that’s all of it. That’s why we’re worried, no doubt. But we’re always worried about thing and hope is following right being it. We’ve come this far, there’s no way we can’t go further. It’s not like we’re not worried at all but it’s not pitch black.

-Why do you think you see it that way?

Die: Well, you could say that the flow form beginning to end is over. It’s that ever since the start we’ve been heading there to meet our aim. Truth be told, when it was decided on Osaka-jo hall it was then gradually decided on developing in a way that would sort of finish up the great flow in Budokan. So the result is that we as ourselves have been doing things while constantly gazing at that (Budokan); this entire past year, constantly. Personally we were like that, but the scale of the lighting and the images in the production were like that too. I think it turned into that sort of thing.

- The album was released in November 2008. Actually, you made the release a little fast so the lives piled up to a certain degree and not only did you deal with production but you had to also face Osaka-jo hall, right? However as far as the result goes it became the starting point and you did a live house tour in England from the start of the year. That had to be an irregular development.

Die: But I think there was great value in visiting different live houses. It’s weird to say it like this, but that was because essentially it’s an album that can’t really be played in live houses. That goes for the way of producing sound too. As we challenged that, the songs were looked upon from a different angle and as the space itself was narrow, you could really feel what you’d call a groove. In the long run, I don’t really know if that sort of process was needed or not, but thinking about it now it was good that we got to experience circumstances that were this different.

- So in short, it turned into a chance to concentrate on where the spirits of the songs are and mend that.

Die: In reality, while being conscious of that, we took on the tour. Like it’s different from the domestic tours, it’s touring abroad. We sort of cornered our own selves in a place that’s like “we can only do it in these particular circumstances”. There’s a limit as to being able to reproduce (the sound) too and we were really looking forward to it. For example, if it’s a place we’re used to like STUDIO COAST it’s easy to imagine, but there was also “how would this turn out to be if we performed it in a live house?”

- If it were a band that can only play in live houses, I guess it probably wouldn’t be very pragmatic to make an album such as UROBOROS.

Die: Surely it isn’t something easy to consider. I wouldn’t say that you can’t do it, but it’d be impossible to have a slender sound.

- By the way, Kyo-san admitted to having kept the desire for revenge over the Osaka-jo hall performance during this entire year.  But would this be because at the time of that performance there was irritation/impatience to fully express UROBOROS’s outlook?

Die: Yeah. Or better yet, we realized in advance that such a sensation had remained. So, we couldn’t be at a 100% percent. In any case, at that time, at that point we could only put out our own selves. From there change gradually stepped in and we thought that was something natural/reasonable/usual. Well, there was naturally also (the thought of) “we have to do it more firmly”, that it’s not enough doing it like something ordinary. As a result, it was pretty firm, but I think we did Osaka-jo hall with a lot of tension. I think it was only there, only that one time that it turned into something tasteless. After that, because we passed on to the live house tour, each song also passed on to change its look. It’s because there were stuff like “From now on, shouldn’t we make this song more like that?”. Such feelings were born and that was with each song.

- Was it also that the implication of the album itself changed during the tour?

Die: I wonder. You don’t really think about such things as you are in the middle touring. First of all, when a tour starts you no longer listen to the album, do you? (laugh) If I hear it when I’m already getting used to the atmosphere of lives, incompatibility is conversely born; the way the sound rings, the way you feel it. Because, after all, the biggest thing is the sensation you get from playing. However to be honest, there are still songs that appear to be in the process of digestion; still songs that appear difficult. Maybe it might be wrong to say that everything is digested the same way. Though, such a thing is not limiting the songs of UROBOROS.

- You mean that everything can be digested the same way as time passes and experience piles up?

Die: Yeah. Or rather, we’re still integrating this within our bodies, there’s still need for better concentration. Time and the frequency (of shows) won’t bring the solution to everything. Every time, if the place is different the way (songs) are heard will too be different. Within such a meaning, it is pretty tuff, isn’t it - the album itself, all the songs are tuff. That’s where it’s different from the other albums up until now. Or better yet, no matter how much experience piles up, we won’t be able to get there with just a sense of “Let’s go there!”. I want to go at it with a feeling of “grind”, but in reality if you do it like this the outlook will change. While respecting this, when I’m still going at it with a “grind”, it’s like I can actually get there. This is also one of the objectives from now on.

- Isn’t there a difficulty of the personal principle not matching the structure of the composition?

Die: I use my head. You really have to keep your cool/calm. This isn’t bad, but with such songs too, things turn a purer white and a feeling of wanting to play has sprouted. This is how I’ve been doing UROBOROS all this time. That’s because there’s also a part of me that feels a little too stiff. Such things are hard to put into words, but I think it’d be good to have this sensation reflect song-making from now on too. The way I used to sort of dash through lives in the past, I wonder if this has become somehow dear to me; being wild in the good way, being loose. Everybody was concentrated on UROBOROS, if you didn’t properly engage, it wouldn’t be completed. In reality it was a feeling of steadily looking at the same thing and then doing it. We faced that and now it’s no longer the head, but instead now we probably instinctively desire a feeling of our bodies being able to go along with a “grind”.

- It’s a weird way of saying it, but is it like if now UROBOROS is destroyed, it’s ok?

Die: Yes. Because it’s something that’s already been completed. We’ve already detached ourselves from this album so it’s ok if we ourselves break it. Or rather, after we do so, the only problem would be how we could reach what was broken. When we do lives in the future, of course there’d also be songs from UROBOROS, but wouldn’t the one “tie” called UROBOROS have essentially died? There’s a different, natural feeling now too, which is different from that outlook we’ve been conscious of while doing things this past year.

- I think the reason you can say this with such certainty now is because Budokan’s two days are over.

Die: Hmm. To be honest, the first day......I myself was too miserable. All in all, I didn’t get into the songs and it was like performing was a mere chore, something inevitable. There was also a problem with the sound. Not only was I not able to produce a good enough sound, but when the actual thing started the sound itself was very different. Of course that was immediately treated, but after that again it turned into something odd. Because it was that kind of sound, until the very end, it was a performance where I put all of my strength solely into trying to save the songs from crumbling. We had played in so many different places, why was it that that day, when I stepped on stage, I thought I couldn’t do it. There was even times when I couldn’t completely hear the sound and because of that I would miss my cue and all. In such circumstances, I fail at once. The spirits are down.

- Of all things - to be surrounded by staff who you trust, to be on a home stage and still be cornered by such circumstances. I think it’d be natural to be upset inside.

Die: Really, after it was over, I was miserable and ready to cry (laugh)

- After the show that day, backstage there was an air of “I don’t want to remain here” (laugh). Well, it’s not meant to be a follow up, but one shouldn’t judge the good and bad points of the live based only on that, in reality that day there was also a great sense of urgency transmitted from the stage. However, I got the feeling that if you were to see the stage on the following day, you’d think “Ah, so this is how it was originally supposed to be”.

Die: I guess it was like that. Or rather it was one live for 2 days. Because of that if the first day all had been in order, maybe the second day wouldn’t have turned out so different. When the first day was over, the mood backstage wasn’t cheerful and there was nothing but a feeling of “Tomorrow, we shouldn’t do it”. It was a little shocking; we were told by an authorized person that “Maybe the conditions for musical performances in Budokan aren’t that good. This happens often with foreign artists too.”. Naturally, those were words of consolation, but does it really matter how it is for others? We were at the place which we’ve been gazing at and we hadn’t done (the performance) as we should have. That was regretful and there was no apologizing to the people who had until then sent out energy for us. Although.....Quite honestly, if it were a me from a little earlier that was performing that day, I’d have become even more desperate and would’ve probably played a conceited guitar. Maybe the guitar itself might have come off of my shoulder (laugh). I mean it’s like I somehow endured it there. To be correct, it was a feeling of “It’s no good if I give up”. The guitar was like that too, but it was actually the “feelings” part (laugh). So, I managed to hold onto the songs.

- It was that sort of first day and that’s exactly why the second day such a live came into existence, isn’t it?

Die: After the first day, once I stomached it, my feelings totally changed. (laugh). It’s because I felt that after Osaka-jo hall this was the heaviest live. So I guess the staff too must’ve felt the same way. It’s like the second day all feelings were heading the same place. It was that kind of “pure feeling”. With each song you felt the response, like everybody’s “spirit/energy” followed up. Not only that, but it had no stopping it too. While still tense from the first day, I felt I could get into the songs perfectly. I didn’t use my head to think it over and I could honestly get into it.

- A drama without a plot. To be correct, it was that kind of feeling wasn’t it?

Die: It was a completely different live, wasn’t it? Somehow, it was a good “first day”. The fact we did that live, it sort of once more gave us self-confidence. There was also things like the reverberation sort of feeling we’d had until then, but more then anything it was a feeling of completion. You could truly feel that all the “spirits/energy” is gathered in one single place. It’s weird for me to say to myself “it was a good life”, but it was like apart from this, there was nothing to say. Even the person who had consoled us after the first day was over, when he saw the second day, he said that the degree of satisfaction was totally different (laugh). That reminds me of an interesting/funny story. Whenever the sound of my guitar changes as I’m on stage, I always have everything done by Kuroo, the guitar tech. However, on the second day when there were supposed to be no mistakes at all, he forgot to step in on one single place. It wasn’t a really big deal, but there was a sort of a “Huh?”. So, after the show when I questioned the person himself, he told me “I got into it too much. There’s no excuse”. Furthermore, after that I received an e-mail and in it there were such warm things written like “I was so immensely happy to be in that place. I keep thinking about how amazing Dir en grey is and how the music is so incredible”. That made me really happy. There were also things like “Budokan is over and at last it’s like the year dawns” written there. It’s not just Kuroo-san - I think that perhaps everybody within the staff feels this way.

- Right after such two days were over, wasn’t there also a loss of spirits in the good way? (as in seeing something great come to a close)

Die: Yeah. But in reality I though it’d probably happen that way, because I though it’s a period for being in such a mood. Or rather the feeling loosens up there and we again turn to the next thing on a flat condition.    

- And are you looking at the future now?

Die: No, not at all (laugh). However, when we start making songs and touring, something will certainly come up. Every time it’s like this. As we do that, we keep searching for ourselves. Each one of us makes it clear for himself what the next goal is and everything. Because it’s something that comes by nature, it’s like the direction we should progress in is again becoming clear.  It’s like feeling what you’re groping for.

- You mean that even birth pains are pleasant?

Die: That’s a must. Or should I say that now I’m excited. Now it’s like a gradation of wanting to once more get there. Though in reality, when you’re there there’s also the suffering of struggle (laugh).

- It’s that while not clearly seeing the “next”, you don’t feel tied up in concern, right? That way there’s none of “I’m not seeing anything now, so what do I do?”

Die: It definitely won’t turn into such a thing. Why? That’s probably simply because it all came from the experience up until now. However, lives are probably the biggest thing. I think that probably the best thing is that we can do lives in different places. Until now we’ve faced many different situations, but because it’s like again we’re doing something here, we can also turn to many other different places too. I guess something like that is big. If you do this once, you go back to a flat condition and so whatever we want to express comes out. In reality, “Hageshisa to, kono mune no naka de karamitsuita shakunetsu no yami” also came from such a place, like we can’t do this with anticipation/excitement, like doing a band has no meaning. We don’t know what sort of thing it’d turn into. This year we tested different things and we did it like this; turning over to the new album.

- Since you already have a blueprint for what’s next, when you to it won’t you want to get your pace in order?

But then again, but why did they get the DIR members who don't say much on radio. I know this but I want them to talk a lot. By the way, "Mamiya" is Do-S Gradually, I poked at both of them.

But, right after my song introduction, there was Shinya who commented (laughs). Maybe, I'm really a Do-S~?

When I tried telling Toshiya-san that it would be nice to have a talk like a cover interview when I'm presenting the song But it seems that the cover [interviews] are talks that take a lot of time (In general, a lot of interviews take an hour) He tried excusing that there are also times when they don't take the exact words that we say and right now we are talking in an atmosphere that's not going to change with a normal talk (laughs). Well, too much time has passed by the time of the radio interview so always they say, "I don't fully remember the REC period". They probably put in that much effort.

While laughing about a question from a fan, "I would like for you guys to talk about both of your good points" "Yuck! [Gross!]", sharp/drastic! They are "Too Shy".

But even so, Shinya-san who earnestly remembers is straightforward (laughs) Toshiya-san kept on laughing and talked about himself.

Regarding "LOTUS", seems like the flow of the sound is, the image gradually changed from the concept at the beginning of spring 2010 when they began recording From what Toshiya-san said, As for the main core, the images of the guitars of Die-san and Kaoru-san were strongly reflected. But, just having the guitars play that low line, the rhythm group sound had to have an unwavering core or else it would crumble So there was some trial and error for the sound of these 2 people this time.

Also, they said that in "Warushawa no Gensou" that they performed in the Endo Michiro THE STALIN tribute, since they had a challenge of breaking apart the original song in an interesting way that's why they have this current sound.

Well, this time, regarding what should people listen most to this single is "3D feel [depth]!" (laughs) So please, even with a headphone, enjoy fully enjoy that.

Translator's Notes: The DJ is referring to herself as a "do-S" meaning she is an aggressive person as compared to a "do-M" meaning that you are a passive person

Majer

The mother of Zemeckises family, her lower body has a shape of human body. In Zemeckises house she is called “Mama”. She is wearing white cloth and school uniform skirt and red shoes, she is carrying 3 types of knives in her stomach. As for her hobby, she hunts humans in deep forest every night. Her expression is not changing much, when her eyes are wide with anger everyone fears her so much they cannot move.

Pirquet and Padloquet

Twin brothers of Penyu. The bigger one is older brother, Pirquet, the one with two horns is younger, Padloquet. They are always together, both love mischief. They especially like to meddle with Penyu, every time they are intimidated by Mama. They move by floating. They enjoy to take out Penyu’s plug by skilfully using long tentacles.

Raimi

In the house of Zemeckises she is called “Inugami-chan”, she is Penyu’s little sister. Raimi is very reliable person and she loves Penyu, she always tags along [where he goes]. Her duty is also to quickly replace Panyu’s taken out plug by twin brothers.

Romero

Die: From there, everyone listens together then decides what song its going to be, then we’ll add our own phrases, or Shinya adds his own patterns etc like  the guitar will be in this approach..

Shinya; Firstly I listen to the first impression of the song, then I create the drumming that I’m inspired to make from that, then its kinda back and forth.

Toshiya: While making a song sometimes the framework changes, there’s various patterns. About the way of the completion of it.. we each maybe have our own.. what would you say.. images. But until there there is nothing like a  realized completed form.

Die: If I put it into to words, in there, our thinking all collects so there’s like too many directions mixing together. But like that we’d be unable to do anything.Kaoru: to an extent_______?I’ll say something like “its this kinda feeling” or another member will say something like that, then from there it kinda changes, and we can see where its going. That happens sometimes.Die: So each member will take that, then change their approach, kinda turn it over and turn it overKyo: Even if I listen to the song and think uhh its this kinda song, they’ll change the tempo etc and the image of the song will change.( _____?) so I’ll just think “hmm that part’s interesting”. Its okay. If I enter into song making from the pre production stage then its all a waste. Even though they’ve finished the song, they may have have to redo the tempo.Shinya: If I think i wonder if  this is the A melody Kyo will come and read the A melody as a different part, then I make that the A melody.Kyo: The person who comes forward with the idea for the song first has their opinion as the main, if they go too off track, then well correct them butToshiya: In the beginning,_________? for my part, I’ll choose the part that had the best first impressionKaoru: Sometimes I think , well I’ve made so its okay like that, but recently I’ve been more like I should place more importance on that, and thinking like does it sounds like a phrase which is like “he has thought about it”. I like that kinda thing but in what this band plays there’s parts that aren’t like that like the first recording, I want to put importance on those parts too1013.05.15 shinkiba studio coast

13:13Kyo: Vocalists have to be seen on stage, have to talk on stage, ________?, that’s old , so i thought to reversely, hide myself, just express myself with my shadow, then I enjoy seeing how i want to perform? Its not like i think in my head “I want it to go like this so ill do this” when i stand there and do it am  i giving 100 percent?What ??ould i call it… hmm.. intuition? I have self confidence in that. I try it and then watch a video of it and think “of course, i did it” “of course, its interesting” I could express one more thing i wanted to._____________? so i just gradually do that.

Toshiya: I get nervous before concerts, i wouldn’t want to not get nervous before them. Standing on the stage and performing i don’t want it to become just like an everyday thing, I don’t want to make it normal. I want it to be something special. I want it to be like a dream.

(we have to think about that if hes still bad tomorrow he may have to go to hospital well, well let’s keep an eye on the condition of his throat today and see if there’s anything strange (something about if it hurts too bad for him to swallow anything?????????????????

15:21 Written on screen

“Yesterday Kyo took to the stage despite suffering from tonsillitis””The other members are increasingly worried about Kyo, whose fever isn’t coming down at all.”

”The other members held a rehearsal without Kyo.”

Kyo?(I think he says something about eating yoghurt and his throat hurting too much for something else?”)

18:44 (written on screen)

"Right after this performance, Kyo was rushed to hospital"Kaoru: At Studio coast, It was like we have no choice but to do it. Rather than thinking is he okay? it was more like, well its tough but lets work hard. There was a lot of that feeling. We didn’t sort of express a worried atmosphere.

Die: I was thinking that next time it could be another member. What if it wasn’t Kyo, but another member, they just have to do it. Its not that Kyo would get better. It’s the part of us that’s like “we’re prepared for war”, we’re always ready."5.20 in the studio"

"A rehearsal was held for the 5.24 Shibuya public hall live"(I can’t really hear this next part properly so its not all that they say><)Guy: Kyo feels like he wants to do it but we still don’t know if he can

Kaoru: If we can’t do it?Toshiya: I don’t want him to do it if its gonna be dangerous.

Kaoru: So we don’t need to over do it?

Guy: We wont tell you “You definitely have to do it”. You guys need to think about it yourselves.Toshiya: I understand his feels, of wanting to do it, wasn’t this a rehearsal to calm our worries? ___________?

Toshiya: It could happen to any of us, not just Kyo. With that thought we thought what should we do? as much as possible we want to think about what course we can take so that we can do it. And not just doing it, we want to do our best.The bands motivation, and the own persons motivation is also important, so if those all go together then we’ll do it.

Shinya: Its something he’d dealt with for 10 something years… so if it his condition is bad I think he should take a break.22:55

“Kyo, whose condition has recovered appears at the scene”

?????

Kyo:?The doctor said i had cured? but i still felt bad? (laughs) tours are often cancelled or postponed due to throat issues. It’s not that my body is too weak, its just overuse. So repeating that over again, it would have been okay to postpone or cancel the tour but I really hated the thought of “again!!??” Normally I don’t feel like that. The other members have memories of that place so they  told me not to over do it, but actually I felt even more than normal that i wanted to perform. It would be okay if i could put out 100 percent of my current self. I didn’t think at all about what songs to sing, I just sung what had already been decided. One of the songs that came up was Jealous, probably because when its come up in the past I’ve done it. If I had a choice I wouldn’t have included it, since I haven’t been able to rehearse, and being in my current state, I’m the main in that song aren’t I? Its just me singing.. its too much. Its like um, it’s not normal to go on stage without having practiced it at all

Kaoru: Until the end  of coast, that song hadn’t been included. 15 years ago at Shibuya hall we played it in an encore, though that was a different version, with the whole band, not the acapella version.  Then while thinking wonder how it would go, wonder if we could do it, I tried putting it out there. Well it was up to Kyo whether to do it or not, but he didn’t say anything so i thought, he feels like doing it and his feelings are forward facing, for the band __________?Kyo: It had been such a long time since I’d performed it, so I didn’t want to.30:52 Written on screen

"The tour in Europe started from Germany"31:37

"A sound check took place at the studio"

34:24Die:(in tour bus) This is only used in Europe, the ceiling’s so low

Camera guy: It is low isn’t it.

"During the tour everyone lives in this tour bus"Camera guy: The beds are that small?. So small!

Die: They’re so small right!Camera guy: So small!

Die: (outside the tour bus) When it’s been one month it’s a bit…Camera guy: So the longest you stay in the bus is 1 month?Die: Well, around 3 weeks. ______?fans try and climb it (the tour bus) that’s why there’s all these marks on it and there’s all this dirt. (cracks up laughing) We’re constantly using it throughout the tour so if it isn’t constantly cleaned it gets really dirty! Insects die on it and stuff.

Camera guy: This is the lounge. Is the bus the same every time you tour Europe?

Die: In Europe it’s normally this kinda of bus. Sometimes a newer one. This part is nicer? ____________?36:55

Die: This place is coolCamera man: Yeah it is.

Die: It’s different every time, the chairs.. and the sounds is,. closed voice rings out??______________? Here, its not that we’re cutting corners we’re just doing it more naturally… but Germany was the first place in Europe we ever played, in 2005, so it’s… how should I put it… like returning to our origins.Die: Today too, the lights and everything are being done by local people we’re working with for the first time. In Japan we have the same staff who always help us, they listen to our songs, and learn/ teach us?. But here it’s completely different, even if they listen to our songs to a certain extent, well, our world views are different, and we don’t win them?  But it’s interesting being completely different. Here, it’s not done perfectly____?

39:13

Kaoru: Ah, this is wrong, the final song before the encore is meant to be saku.Guy: Ah, that’s right.Kaoru: Didn’t you make this in Japan? Will it be okay..

41:06Toshiya: (pointing to arms of DEG hoodie) if I cut these it might be cool

Nora: Ah you’re gonna do it yourself??

Toshiya: yep!41:31

Toshiya: uh… Can i get another one?? (cracks up laughing)(are they calling Shinya’s top girly? I’m not sure..)50:15

"They weren’t performing that day so they did some sightseeing"51:48

Toshiya: This is really cool, I got a photo.55:17

Toshiya: For me, tours in Japan are itariritsu _______?tours overseas are for studying.Kaoru: In Japan everything is done very precisely, but overseas everything is much more lose.  like “about..”  I like that personally.

Shinya: Personally, my thinking is the same for both. Overseas is _________?Die: Overseas fans, and it’s the same for Japanese fans in the countryside, can’t go to our concerts often, so there’s a lot of difference with that. Because for them they don’t know when we will come again, or when they will see us again. The heart is different.Toshiya: ______?a world I’ve never seen before.while I’m fighting I want to try fighting.Kaoru: In Japan we often go to the same places, and we understand the ways of the place. But overseas we have no idea about the places, we’re really just going to do the tour… but I like that. I think if we knew more about the places we were playing then it would affect our concerts. and do something to our condition„

Kyo:I don’t like ____overseas I don’t dislike overseas tours, but I don’t like being separated from Japan? I don’t like moving around, I don’t like the food, I don’t like not understanding at all what?people are saying. Really don’t like it! (laughs) If I came overseas, and put up with all these things I don’t like, then did a shitty concert, I’d really regret it. So I think I need to make them the best.59:16

"What is Dir en grey’s unique weak point?"Kaoru: In a good way, and a bad way, our actions are a bit weak, we… what should I say… we often don’t have self confidence, but reversely, it becomes our power. If all five of us come together we can do all these things, but if we’re alone we don’t have self confidence. So in a good way and a bad way that’s like our weakness.________(also randomly)

Second dvd

39:00

Kyo: I’ve caused you a lot of worry this year. See you next year.

1:00:08

For you guys, what is an important source of negativity?

Kaoru: For me, how should I put it, choosing something that isn’t following someone else, or doing something just to go along with someone else. We’re doing the band like that. More than (______) defying people and from there kind of finding our own world, our own place. I have experienced these things firsthand, getting angry, losing your temper at yourself. It’s like a fight with myself, releasing what I’m aiming for(??) in regards to myself.

1:10:06

(written on screen)

"They arrived at the DOWNLOAD festival in England"

1:11:46

Die: It’s small!!! (when pointing to Dir en grey’s name on a list of the bands playing)

1:12:08

Toshiya: I’ve seen various things.

Camera guy: I think there’s a rest place over there.

Toshiya: Its probably going to rain.

1:12:24

Toshiya: We’ve stayed in America for one month before, on a tour. When I think about the first part of it now… man it was tough. But it was interesting. We were certainly young. No matter what I do it’s the same, more than material difficulty, when my heart breaks it’s like the end of everything. (____) When I think “This is bad” I feel like it’s the end of everything. (I think he then says something like “at that point if it wasn’t me could it continue”???) The reason that Japanese bands can’t make it overseas may be because of that. It’s really tough right (laughs)

1:14:31

(Written on screen)

"The staff check the equipment during the change over time"

”There are technical troubles right before they go on stage”

”There was a mistake in the harmony settings”

1:16:00

Nora: How long will it take you to play five songs?

Staff: We’re six minutes over

Nora: If we’re over six minutes can you play five songs?

Kaoru, Kyo: We can we can.

”In the end, due to the technical difficulties they had to cut 2 songs”

1:20:12

Nora: Good work

(laughing)

Kaoru: Wasn’t it bad?

Kaoru: Of course, I think I’m weak. Even if it’s like that(the technical difficulties) it’s like let’s do it. Thinking why did this happen? Would be strange. Talking about being uneasy, I think it’s okay if we feel uneasy. When I thought what is going on? It’s really the first time, what if it gets any worse? Then the thought “if I don’t take it somewhere to a certain extent then we can’t do it” was running around in my head. That’s how it was.

Shinya: Overseas, every time we go to festivals they’re inconvenient and firstly, the monitors(??) are definitely bad. But from that inconvenience we’re doing it and its okay. In a way like not assuming anything.

Toshiya:(_____) There’s no courage in saying, and I don’t want to say at a late time that it was fair(??)(or he may be saying something like there’s no courage in saying and I don’t want to say at a late time it would have been good to do it this way..??). Because the results appear there… yeah,  I didn’t do that, I couldn’t do that . Well there’s many times when we’re inexperienced or we couldn’t communicate properly. But anyway with those things, thinking what will we do next? is more worthwhile. We want to continue thinking like that.

Die: But I think the circumstances are the same for quality bands. But they’re still doing it properly. It would be strange if we said no, we won’t go on stage. There’s still a lot of (_____) in different parts isn’t there.

1:23:43

(Talking about travelling in the tour bus)

Kaoru: Some parts don’t put me in a bad temper, but there’s times where you can’t help it. Strangely, Going to a hotel is a bother. One day this hotel, then the next day a different hotel. Moving our stuff around each day. We don’t have to live out of a suitcase on the tour bus. And if we do that we run out of time (???)

(What do you feel is tough about overseas tours?)

Kaoru: The language barrier. I can’t speak any foreign languages. If I could understand, and speak the language then I could ask about how to go to places and stuff, but I can’t speak any foreign languages so I can’t ask. I can’t become more familiar with the places. Yeah, that’s the biggest difficulty.

(talking about previous days technical difficulties)

Kaoru: Everyone being unable to calm down, the members all go to the stage as quickly as they can, then while hearing that we can’t go on stage yet we were thinking what’s really going to happen?? (??) At the end we noticed our inexperience (??)(he mumbles something about in the members hearts then says “sorry”(this part was really hard to hear><))

1:25:41

(written on screen)

”They arrive at NOVA ROCK festival in Austria”

Toshiya: We came straight from England. Through Germany, France, Belgium

Kaoru: I’ve heard about that stage before of course since we’ll be performing on it I’m interested in it. How big it is, what kind of atmosphere it has etc. (____) No one’s here.

1:33:20

Die: It doesn’t feel like (we’ve played??) It’s tough.

Toshiya: How was it? Like this isn’t it. How I imagined it to be. It’s the same for everything, you need to hope.

1:34:07

Toshiya: What … what… what do I hope for? Well, it’s limited to what I’m able to do, so it’s just to step by step do what I can now. In the limits of what I am able to do, even if I have big dreams, life doesn’t really go that well?  (laughs) (He then says something about dreams?). If I live with this kind of feeling of fear (??) then I might fall but everyone’s lives don’t go better than what they think. I can’t believe that there’s a future I can hope for waiting for me.(laughs)Of course, there are some things I hope for.

Die: Playing on the third day of the festival the crowd was a bit tired. hmm not fresh? It was more (___) than the first time we played at a festival in Germany in 2005. I think we’re still in progress.

Kyo: Bands that do well overseas make the fans clap their hands, meet and talk with their fans, and make a feeling of being one. But originally Dir en grey doesn’t do those kinds of things. It’s not that we don’t do it because it’s overseas. I think thinking that if we don’t do those kinds of things then the fans won’t get excited is weak.  Even if we add them, I don’t want to get too absorbed into that kind of thing. It’s kind of like a conflict. But we have to, and there’s also the fact that the lyrics are in Japanese. I think there is also that aspect so I think its okay like this.

1:37:56

Kaoru: We’ve been touring overseas for 5 or 6 years now and to a certain extent there are parts that are the same, pragmatic parts. I think we need to consider how we can expand those parts. Of course we want to play overseas but in doing so we have to balance many things. There are many difficult and strict parts.

Die: Playing overseas, including when we do solo shows I want to do more with the stage, lights etc. I also want to show overseas what we show on tours in Japan. We still haven’t done that. I think we’ll return to Japan with well-informed/detailed thoughts.

Shinya: I wish that we could soon be able to play overseas like we play in Japan. Toshiya: I think there’s no welcome for Japanese culture. That’s something I’ve thought from going and seeing for myself. I think we’re maybe currently at a crossroads of do we continue holding on to our past heritage or do we carve out a new road.

Kyo: Personally I think if we found a band with the same kind of atmosphere and world view, I’d like to tour with them. But there isn’t really any. Overseas it depends on (___) for me.

Die: I don’t have any goals for the future, how I want to be etc. I think it would be good if I changed more. So I hope I can steadily change.

Kaoru: I hope I can continue and continue giving shape to what it seems like I’m able to do and what I want to do.

Shinya: There’s nothing in particular that I want to do, or evolve. It’s more like I’ll just notice that I’ve evolved.

Toshiya: I want to leave in preparation things that are like it’d be good if we could do this kind of thing as a result after finishing something

A while ago I remembered how I had that thought.

It was footage of a documentary I saw for class when I was in elementary school sometime back during the Sh?wa period1 that dealt with damage of the atomic bombs.

Skins burnt and inflamed, people searching for water, black rain, eyes of the victims that told what happened at the time, and a photo of a boy standing still and watching his younger brother’s corpse being burnt...

I clearly realized an unimaginable inferno existed and that was a valuable “experience”.

Until now I continued production having “how real I can make fiction real” as a motto, but for this song, I could not overturn the imagery of the black rain and the documentary film of the victims that haunted me.

Even if I were to force myself to make up a half-measure music clip with a different fictional imagery, that would betray my way as a producer and artists called DIR EN GREY.

Naturally for production, I was very careful not to let this simply be captured as a shocking footage.

I visited the Hiroshima Peace Memorial Museum again, read a large number of documents of the U.S. military, and laid hand on many drawings and words by the victims.

The U.S. government have stated that dropping the atomic bomb was necessary to end the war and to reduce the number of U.S. military casualties, and even now they do not renew that position.

They did not answer why they dropped the atomic bomb twice in Hiroshima and Nagasaki that were made on a different basis, and to the voices of criticism and question about “human experiment leading nuclear development” and “diversion to the Soviet Union”.

I do not have right, left, or any ideological biases, but regarding the dropping of atomic bombs, I am completely taking a dismissive stand towards the statement by the U.S. government.

If the young overseas fan that does not know the details of the dropping of the atomic bomb could even see glimpses of this clip, and for Japanese fans, to be the catalyst to think over modern Japan’s history as well as terrorism and massacres happening in the world...

Now, if DIR EN GREY that is Japanese artist known the most in Europe and the United States could emit this clip all over the world, I think there is immeasurable significance.

[As the number of people that have experienced World War II is slowly decreasing in this current time, Japanese lifestyle exists from this sacrifice.

Advancement of technology creates enormous destructive weapons and it even tries to alter the natural environment.  

Life=”Water” that is the source of nature becomes tainted with the “fire” humans create...The black rain is that symbol.

And even now civil war, terrorism, and all sorts of slaying always happen somewhere in the world.

“That’s where the truth is”

...Even still, we must live on and walk.

But where are we heading?]

...I worked on the music clip of VINUSHKA with those concerns.

I do not even have to say this but the editing on the Restricted Version in this (music) clip collection DVD was not the will of the production side.

The footages hidden under the black frame include the things I saw during class at my public elementary school.

Translator's Note

1. Sh?wa period refers to the time period that corresponds to the reign of emperor Sh?wa from December 25, 1926 to January 7, 1989.

TOUR15 THE UNSTOPPABLE LIFE went by in a blink of an eye.

There were a few shows on this tour that had a really good feel for me. I don’t know if “good feel” is the right way to put it but without a thought I could effortlessly give it my all, becoming one with my guitar. Then while intensely concentrating on the song I would become more and more excited. That kind of time feels really good. It makes me wanna keep playing and not get off the stage. But even if I think “I’ve got it!!” there will be a whole week before the next show and the feeling will have disappeared off somewhere. It’s difficult, no matter how many years you’ve been doing it for. But that’s what makes it fun.

On this tour we visited a few places we haven’t played at in a long time, and it really felt like a tour, so I personally enjoyed it. In Kanazawa I was also able to eat the best soba in Japan for the first time in 6 years. The soba store normally only opens for lunch, stops service when all the noodles have been used, and is very popular so I took the bullet train by myself from Tokyo at 8am and waited outside the store until it opened. How much do I love it ?! As was the same as every other time I’d visited the store I needed to wait a long time for my meal after ordering, which I was fine with. Totally fine with. I could totally wait. Eating it for the first time in 6 years… It was so so delicious I had such a big grin on my face while eating. My heart and lips were both numbed. It was a moment of pure happiness.

Since I’d come all this way I visited several places I’d been to in the past for previous Haiiro no Ginka issues and photo shoots. I love the atmosphere of old tea-house streets. Cold perms are still very popular but I wonder if Kimura has shut his cold perm shop by now. It has been 15 years since I was last here. The rusted, worn out sign out front of his store gives it a Shouwa era (1926-1989) feel. Afterwards, I went to kenroku park but it was so hot, and I was struck by the drowsiness you often get after eating, so I did what I’d come to do and then quickly left.

Writing this has taken a fair amount of time, but I still have four hours of this flight to go. Once we arrive in Dusseldorf, it’s a 26 hour bus ride to Belarus, so I can sleep on the bus. It’s my first time going to Belarus. I wonder what kind of place it is.

In any case, I hope nothing bad happens while we’re there.

Our tours in Japan are blessed with carefully crafted stage production, full equipment, and lots of staff, whereas our tours in Europe only have the bare minimum of equipment and staff. The conditions and places where we play may be different but wherever we play I want to perform concerts which make people think “that’s a Dir en grey concert!”

I’m looking forward to TOUR2015 NEVER FREE FROM THE AWAKENING.

Kaoru - ganso naki kaoru ya

How are you? How was our spring tour? I thought the tour had a nostalgic feel and showed that we have an interesting future ahead of us as a band.

Now we’ve come to Europe. We’ve played a few shows and are currently in Berlin. The first few days were tough; I was in hamburger hell… The first time we played in Europe was here in Berlin 10 years ago. I came here dubious at first that anyone overseas would actually want to see us play. But then, hearing three thousand people singing together in Japanese, I was surprised and moved. We heard that people came from all over the world for that show because it was the first time we were playing outside of Asia. When I thought about the fact that our music had unknowingly spread to so many people around the world without us even attempting to make fans overseas I felt the flow of time, and it made me happy. Playing at Rock am Ring and Rock im Park in front of tens of thousands of people who didn’t know us was hell…

When I eat breakfast, drowsiness… I’m not jet lagged and don’t get sleepy at strange times because this time I’m being consistent with my bed time. But I still always get sleepy after eating…

I think in the time between returning to Europe and starting our fall tour I’m going to write some songs. I’ll rest for a little while but I always quickly tire of it so I’ll probably be in the studio everyday doing something.

It’s not certain yet, but in the summer I plan to release a special book of my reading the strings segments from the magazine ongaku to hito. I’ve only written boring stuff, but I have written some new stuff for it too. So please read it, even if you’ve already read all the published segments. Well, see you at the fall tour!

Kyo - Happiness of nothing and the assembled neck

What I create,

what will I sing,

I wonder how much of its essence and feelings is conveyed to the other party.

The fact that it is not conveyed can’t be helped,

since there’s many different people.

However the interpretation keeps getting screwed,*

I wonder if there is any meaning to the expression which intentionally/daringly the screwed up me created,

is there perhaps a place I can borrow where I can show my genuine’s self words and straightforward actions,

but there is no reason to be understood by anyone except me,

the meaning of these words can easily be repainted,

everything can easily be made into a lie,

all the time I put into it will turn into a meaningless lump.

If that’s the case,

I would like you to tell me if there’s anywhere where the remaining words and actions I want to convey can be accepted.

Well it is easy to say things like this and think like this,

it might be comfortable.

If that’s the case,

the meaning of truth doesn’t exist anywhere.

Notes

To finally manage to reach this sound was not simple. I think the answer the five of us poured our time, labour and energy into reaching lies in ARCHE.

But I’m not saying anything dumb like I want you to listen to it based on that.

Simply, I just want you to enjoy the sound, the melody, the world that lies in this album.

My wish is that you imagine many things, many worlds.

The world of ARCHE’s sound is free.

It can by dyed any colour if you simply imagine it. And it will absorb you in stories you’ve never experienced before, and take you to scenery you’ve never witnessed.

If you use your imagination there’s more than one answer.

Anyway, please listen once more to our first album in 3 and a quarter years, ARCHE.

And after you’ve all imagined the world of ARCHE in your own ways, please come to our concerts.

There, yet another world of ARCHE is waiting for you.

This is becoming an ARCHE promo, but I’d like to express my appreciation to all the people involved in the production of this album.

Thank you very much.

And to the staff of our current tour, this is just the beginning of the world of ARCHE.

From hear on let’s create together this world which will be dyed many colours.

I look forward to continuing to work with you.

So, how was this issues aibiki no mori?

2014 is already ending.

This year went by fast.

Next year, as always, I look forwarding to seeing you all on our tours.

Have a great year.

---------------------------------------------------

Meisyo de Meisyu (Die's Section)

December. My favourite month. It’s my birth month but that doesn’t really have anything to do with why it’s my favourite. As every day passes I feel melancholy wondering how many days are left until the year will end. The ringing of bells you can hear anywhere you go is also melancholy, and I like it. I don’t like the cold but I guess I can forgive the level of cold in December. And I don’t mind if it snows.

Speaking of which, the view at night from the top of Mount Inasa in Nagasaki (where we visited on tour) was also very very beautiful. I just wanted to stare at it forever. But of course, being on the top of a mountain the wind was so strong, and it was so cold, my hands shook as I took photos. I was unable to bear it for long and quickly went back down… Now it’s just Mount Maya left.

DIESEL FUEL FOR LIFE I’ EAU smells nice.

There’s only a short time left in this year.

This year we were able to produce a new album. We’ve already played some shows on our BY THE GRACE OF GOD tour, and while playing our new songs we’ve already found problems we need to clear as a band. Again we must tweak these new songs live and gradually power them up.

See you later.

--------------------------------

ganso naki kaoru ya How are you? Recently I’ve been sleeping a lot. To a gross extent. Has the album you’ve been waiting for reached you? I hope it’s reached you. We started our tour before the release of ARCHE, and I think the atmosphere is a little different than before and will continue to be interesting.

Recently I have an interest in the unusual, so much I’ve even begun to question standing on stage normally. I’ve been thinking about playing the whole time with my back to the crowd, or not really caring about where I stand on stage, or that it might be interesting to not go on stage at all, but just play from the wing. Well, simply, I’m just not good at being in front of people… This isn’t limited to concerts though, I have the bad habit of wishing for irregular things to happen at many different times. For example, it might be interesting to part way through a trip on the shinkansen get off at a random stop and keep going to my destination on a regular train. Lots of trivial things like that. I’ve always had the tendency to be like that, and it creates various insecurities for me. I don’t drive cars or motorbikes because I’d drive places I shouldn’t. For example, if there was a wall in front of me I’d think about accelerating and racing to as close as I could get to it. So I don’t drive. In the past when I drove a scooter I was the same. I had many dangerous experiences so I stopped riding it. I’d also want to try jumping from the third floor of an apartment building, for example, so I’d jump down and then split open the top of my foot. I’m a bothersome guy aren’t I…

I have no idea what I’m talking about so I’ll end it here, see you!

--------------------------------- Happiness of nothing, the assembled and neck (Kyo's Section)

Recently I’ve often been thinking “I’m gonna give up” “I give up” “I can only give up” It’s not that I’m giving in to myself, rather I’ve been thinking so towards other people. Have I become colder towards other people? No, I think that’s normal for me. Have I minded things too much? But whatever, stupid should do as stupid does, if the person himself doesn’t notice then it’s heaven for them so I’ll just leave them be. I’ll put up with the few troubles they cause.

Of course, to coexist well with other people a certain amount of compromise and patience is necessary. Is that being an adult?

What people think is the right way for them to live well and whether its right to stick to how you are etc is different for everyone depending on how they’ve lived their life up till now.

What’s right for one person isn’t necessarily right for everyone else.

But if you don’t believe in yourself, who will?

No matter what anyone says to me I won’t get in anyone’s way and I’ll stay true to myself.

------------------------------

Shinya - Dr Nemunemu no Daigyakusyu

This time I went to a pancake store in Harajuku which was doing a limited time special Cheburashka cafe.

Cheburashka was waiting for me outside.

There was even more Cheburashkas when I went inside.

There were even some up near the ceiling.

I sat down, looked at the menu and ordered Cheburashka’s Beef stroganoff.

Of course, I got the special Cheburashaka set which came with Cheburashka’s beloved orange juice.

I got a special coaster when I ordered the Cheburashka set.

Then my juice came. Since it was Cheburashka’s orange juice it had a unique flavour, different from normal orange juice.

Then at last my Beef Straganoff came!

Cheburashka had been drawn on the pancakes! I don’t normally eat pancakes but I really wanted to eat these ones. ….hm?

…..hmmm?

Who……!?!?!?

Then I put butter and maple syrup on them.

I also put it on the unknown characters one then it became even more unrecognizable.

It was weird to have such sweet pancakes with beef but I’ll forgive it because it’s Cheburashka. Satisfied, I paid for my meal. There was a Cheburashka at the cash register too.

When I paid I got a Cheburashka film coupon.

It said that you could exchange it for a Cheburashka film at kiddy land. Kiddy land was close to the pancake shop so while gazing excitedly at the coupon I headed there. But then something unbelievable happened!

I noticed that the coupon said that the kiddy land where you could get the film was the one in Umeda, Osaka! It was too far to go to Umeda from Harajuku, and I had a photo shoot the next day so I’d have to return the same day, but no matter I went to the Harajuku store. Where they kindly exchanged the coupon for me anyway. I was really worried so felt very relieved.

The films were given out randomly and I couldn’t choose which one I got so I looked at it excitedly wondering which one it would be.

Who………????

------------------------------ Group ARCHE Interview

our first album in three and a quarter years will be released on December tenth. How do you feel having just finished it?

Kyo: Nothing in particular. Kaoru: I’m glad it’s done… Die: I’m simply happy that we were able to make a new album as a band while naturally facing towards our present selves, and without rejecting the past. Toshiya: There are twists and turns but I think it’s an album of the present Dir en grey. Shinya: Three and a quarter years seems like a long time but it went by in a flash.

What kind of existence has ARCHE become? What will it become?

Kyo: As always, an important existence. Kaoru: Maybe an album in which you can see the future of Dir en grey. Not in terms of the content itself, but I mean we’ve created an album with a flow different from recently. Die: Maybe an existence which connects the old Dir en grey with the future Dir en grey. Toshiya: Up untill now and from here on too, I think it’s an important work as our ninth album. Shinya: I think it’s a work in which we’ve shown yet another side of ourselves.

You’re been playing the new songs on your current tour BY THE GRACE OF GOD. Can you see The audiences’ reaction from the stage? And how have peoples’ reactions been in questionnaires and fan letters?

Kyo: I can’t say anything. Kaoru: Not bad I think. But I’m most interested in what people will say when they listen to it at home. Die: Even though the songs haven’t been released yet there’s songs which have had a very good response live and I feel like as our tour is continuing that response is growing bigger and bigger. Toshiya: Of course, we hear what the fans have to say, but there’s no release that doesn’t get a reaction, so we’re listening but not listening. Shinya: We’ve recieved pretty good feedback. I think people’s image of them will change again when they listen to them at home.

(R)REWARD

Did you give yourself anything as a reward after your long time working?

Kyo: No. Kaoru: No. I don’t reward myself every time. Die: For the first time in a while I went to Los Angeles. Although, while I was there I checked the albums mix sent by Tue Madsen (the person in charge of mixing and mastering) and did various desk work. Toshiya: I slept. Shinya: Nothing in particular.

(C)CHALLENGE

Have you challenged anything new on the release of ARCHE?

Kyo: Not in particular. Kaoru: On the release? Well the songs were all made through trial and error so you could say it was full of challenges so yeah, I think so. Die: I bought a few new compact effectors. I refreshed my mind and my sound. Toshiya: I think life is full of challenges. Which isn’t bad nor good. Shinya: Nothing in particular.

In trailers and adds you’ve been trying various things, collaborating with famous voice actors, and being turned into anime characters. How was it, from the point of view of a member of Dir en grey?

Kyo: Am I really that thin? Kaoru: It’s interesting. The catchphrase “pain” was a little embarrassing though… Die: I think they’re things we definitely haven’t done before, image-wise. Not just confined to that but I want to destroy our image, in a good way. Toshiya: I’m happy if everyone watching enjoys them. Shinya: I like that kind of thing.

(H)HONEST

Are there any songs on ARCHE that you had trouble with?

Kyo: All of them. Kaoru: Apart from “phenomenon” and “the inferno” I had trouble with all of them. I want someone to tell me how to make songs without trouble. Die: The arrangement of “kaishun”. I played around with it too much and Shinya got mad at me like “but the previous arrangement was good!!”. Toshiya: All of them. Shinya: I think now that the hard work is over I’ve forgotten how hard it was.

Are there any parts of your personal performance which you think “this is a good part!!” or “I want people to listen to this part!” Please tell me in detail.

Kyo: Everything maybe? Kaoru: Nothing in particular. But anyway please listen carefully to all of it. Die: The guitar solo of “tefutefu” on the second disc. It’s the same solo I made in the demo. It’s hard to reproduce that kind of loose and broken feel. Toshiya: There’s no parts in particular. It doesn’t need saying that I put 100% into all of it. Shinya: The hook of kaishun.

If your present mood were an ARCHE song, which song would it be? Please explain.

Kyo: magasou. Kaoru: Ah that’s tough, I don’t know. Die: I can’t compare my mood to any of them. Toshiya: “and Zero”. Because I’m starting again from here. Shinya: “uroko” Because I ate sushi yesterday.

(E)ENJOY

Do you have your own personal way of enjoying ARCHE?

Kyo: I don’t know. Kaoru: Because I always remember how tough it was to make I can’t listen to it enjoyably. Die: In making the album I listened to it a million times before it was released so since it was released I haven’t listened to it much.The more I listen to it the more I think things like “I should have done that part more like this…” . Things to reflect on and thoughts about our next work increase each time I listen to it. Toshiya: I listened to in on many different headphones. I think there are still new things to discover in it. Shinya: I want everyone to listen to it however they like.

Lastly, do you have any messages to the a knot members who are looking forward to ARCHE’s release?

In that hot summer the GAUZE tour went by in a blink of an eye, and without time to catch my breath I’m now in the recording studio to do final work on the new album.

However the other three are all working simultaneously in different studios so we’re pretty much at wits end…The final stage of recording DUM SPIRO SPERO three years ago was like this as well so I didn’t want to rush the next time but…(laughs)

Well production on none of our albums have ever ended smoothly.

At the moment I’m still in the middle of focusing hard and working on each song but I’m excited about how awesome it will all be when all the songs are finished and released.

There will definitely be some awesome sounds you’ll be surprised at so just wait a little longer. But before that’s the tour. I’m looking forward to playing in Nagasaki for the first time in 12? years.

See you later.

---------------------------------------------

Happiness of Nothing, The Assembled and Neck (Kyo's Section)

Kyo : Happiness of nothing, the assembled and neck Haiiro no ginka 64

How was the GAUZE tour?

Kyo: I was about how I thought I would be.

What do you mean?

Kyo: Like I wasn’t in my normal mode, because I knew that in the power and message of the GAUZE songs I probably couldn’t put out 100% of my current self. So like that, the GAUZE tour went how I was expecting.

Like what you said before about it being a festival, everyone seemed to enjoy it.

Kyo: Well, I think it’s better to enjoy it then just stand still, quietly, but in my personal style, the way I perform and my stance on performing isn’t about enjoying it, so that part was quite different from past tours.

Do you have a new feeling now?

Kyo: I don’t feel like it’s new.

I thought you were moving with a difference in skill*, were you conscious of that?

Kyo: Not really.

It was natural?

Kyo: No, what was it… There were parts that weren’t suited to my current stye of letting things out 100%, hmm, but then I wouldn’t do anything, which is bad, so then I’d have to do something different, I think that’s how it was?

Now let’s talk about the time during the tour. What did you do on your free days?

Kyo: On my free days I just exercised. Well, I say “just” though there’s only a certain amount of time you can spend exercising per day.

You were preparing your body everyday?

Kyo: Yes, slowly for November. But I’m still preparing.

Still!?

Kyo: Hmmm. Since I’ve become this age I’ve been pushing myself in various ways. In doing so, I’m hoping to make a new discovery, find something like more power than before, or motivation. I also want to become a stronger person both mentally and physically. It started from wanting to discipline, or reprimand myself. Like, I’m no good how I currently am. So it’s come from my thinking that if I challenged myself to difficult things every day then I could get to a higher place mentally.

You don’t get sick of it?

Kyo: I hate it. To properly develop muscle you need to push yourself hard for 1 or 2 hours one day then take a break the next day.  That way you can recover and gain muscle. But I exercise everyday. I train every morning and night, regardless if there’s a concert that day or not. Doing so I don’t gain muscle but rather than wanting to gain muscle I started it as a reprimand so I think this way is fine. It’s hard doing it after a concert. In the morning too when I wake up it’s like “Ugh do I really have to do this? I don’t want to”. So I have to fight against those thoughts. But I think I can find a new me inside myself. If I get used to doing this then I would have become strong mentally right?  And I think that might lead to new things.

Do you ever skip…?

Kyo: I never do.  But I really need to become more flexible, because my muscles get stiff. I don’t know how to become flexible so I’m just exercising but I think I need to learn how to become flexible too.

Kyo, you’re too stoic! You weren’t made to go out during the tour?

Kyo: I didn’t really go out. Well I went clothes shopping. Even if the shop was a little far away I’d still walk there. In Hokkaido I walked for two hours to go shopping. Recently the kind of clothes I want to wear has changed and I don’t have any I want to wear so I was thinking about making my own so I also did research for that. Like, I’d like to make something like this.

Next I’d like to ask about your new songs,  out of the two new songs you performed,  the lyrics of the one you played on the first day at shinkiba coast (un Deux) seemed to have a different atmosphere than usual. Were you concious of that while writing the song?

Kyo: In DUM SPIRO SPERO I was able to establish the world view inside myself, and it would have been possible to delve deeper into that but I wanted to do something  a bit different. This isn’t what I was talking about mentally before but with DUM SPIRO SPERO it was gradually gradually going down and down, but this time I wanted to try looking up.  Not just facing upwards but I wanted to write more of looking up from a low level after having seen many lows and to express it differently. I’ve re-listened to what I’ve written and sung up till now.  There are good and bad parts and I’ve analyzed them like how would my present self perform them, then simplified them and made them into something more real. I wanted to make the song somewhat like the old Dir en grey but at the same time go to a new place with it. I’ve manged to do just that so it went as planned.

Definitely. I felt like that seeing it live.

Kyo: Recently we haven’t made any simple songs that everyone can sing along to so I tried to not include any shouting, and to make the melody as straight as possible and so that  the lyrics enter in easily.

I see, it’s like you can remember the song easily, or get into it easily.

Kyo: Yeah, that kind of song wasn’t in DUM SPIRO SPERO. It’s easier to get into, and everyone can feel like they’ve become one. The stress is on being able to get into it rather than on the world view. But it’s not just that, it’s also new. It’s seems like it was in Dir en grey before, but it wasn’t.  Now after DUM SPIRO SPERO making a song to get into in that whole it became like that. I think it’s interesting. It’s also compact and pretty tightly packed.

Is the album like that as a whole?

Kyo: Hmm, it’s not finished yet but I think people who couldn’t get into the world of DUM SPIRO SPERO will be able to get into this (laughs) It’s pushing it a bit so I like it. But if I was asked which of our previous albums its like, I wouldn’t know. But it’s not how we’ve been doing it up to now, doing something completely different. Instead we’ve taken the good parts of Dir en grey, reconstructed them, and mixed them with new things. That’s why it wasn’t strange for us to play some of our new songs on the GAUZE tour. So I think we’ve mixed these things together well. There are lots of other songs like that on the album as well, and I think there are songs that people will say “ah it’s this kind of song! This kind of song!”

Everyone’s looking forward to that.

Finally so you have anything to say to the members of a knot?

Kyo: Umm. The release date of the album has been delayed so the tour is starting before it, but that is also a precious opportunity. If you come to the concerts before the album is released you can get to know a couple of songs and there’s lots of songs that are easy to get in to so I think you will enjoy it. Also, putting it really badly, from there on I’m not serious but, its a place where I can finally show 100% of my current mode so I didn’t want to cut the start of it again. I’ll be happy if you watch the growth of the new album with us again.

*Yeah this sounds weird to me. he uses “????”

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Abiki no Mori (Toshiya's Section)

How are you?

The GAUZE tour is over. How does this tour reflect in you? Has anything stayed with you from it?

It’s been 15 years since GAUZE was released, so I thought it would be interesting to do a tour for it again. But I also wondered if it wasn’t impossible. Because we did it now we could see our footprints… Yes, we did this tour while reflecting back.

My personal goal was not just to play nostalgic songs, but I performed each song while discovering the new in myself through the old and wanting to show that and for that to be heard.

Even for the stage plan, the biggest thing for me was while keeping old things how can I enter new things and experiment.

The definition of success depends on each individuals values but personally for me,  through each song on the GAUZE tour I think I was able to link together inside myself things I couldn’t do back then, things that I can do now, and things I want to do in the future.

So.. I think it was a good tour.

And without  break I’m now spending my days recording songs for ARCHE.

Honestly speaking, if we hadn’t done the GAUZE tour we might have been able to release ARCHE in November but… If we hadn’t  done the GAUZE tour then I wouldn’t be who I am today.

Reflecting on that, I think that even though work-wise it was tough, I gained something more than that from it.

And now I want everyone to listen to ARCHE very soon, even just a day earlier and I want to hurry up and perform songs from it, even just a day earlier… I really can’t wait!

So, how was this issue’s aibiki no mori?

It’s gonna start getting cold now, so take care. I’m looking forward to seeing everyone on the tour starting in November.

During production I don’t have anything to write about~ Everyday everyday I’m just playing around with songs in this way and that way. But I think that being able to immerse myself in my work this way is bliss so I’m working hard.

Come to think of it, the day after the Budokan shows I went to see Alice in chains at Studio Coast. There were songs I would have rather heard that they didn’t play but it was so much fun that when it finished I went close to the stage to inspect their equipment. I had the chance to see them in Australia too but I restrained myself (laughs) The bands I saw play in Australia who were good were Mutemath and Glassjaw, who we played with. There were lots of bands playing but I didn’t see many. Mastodon, Rob Zombie, Korn, and Alice in Chains played three nights in a row at a venue near our hotel in Melbourne. It must be tough for these Australians confronting such massive bands every night.

When the next issue is released it will be near the release of our new album! and so I can give information on that I will lock myself away again for a while. Wait for it~!

Please look forward to the Budokan DVD and special CD too!

See you next issue!

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HAPPINESS OF NOTHING, THE ASSEMBLED AND NECK

The road on the right, the road on the left, they are both leading to the same road in the end. Apart from the success and failure cases, the shitty road that leads there is the same everywhere, eventually no matter what kind of business we do, which road we choose, no matter if I reach the exit or not, the wound we suffer is the same.

I don’t drink, I also don’t gamble, I’m living a regular life for several months without staying up late. I want to create music, I simply want to express myself.

It’s not like I’m selling off everything besides my private life and self-expression and changing for the money.

That’s why I start feeling like I don’t want to do anything.

I’m not anyone’s dog. I am me.

That’s why I will treasure my genuine/true fans even more now. Purity/genuineness is destroyed by time and relations with surrounding people and other things before we knew it.

Time and genuineness, I want to treasure those even more from now on. That’s my life. But I’m affected by the life of my genuine fans greatly. That’s why, I will do my best to have more pride, being me. Really.

To my genuine fans,

Best regards/please take care of me from now on as well.

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Die x Shinya Interview

Well done on your first Budokan show in four years. I’d like to ask you about what happened behind the scenes up until the shows and about your memories of the two days.

"How did you feel when you decided on the Budokan shows? Did it feel different from when you decided on the UROBOROS shows? Also when you decided on it did you have a clear vision of how it would be?" (From mippi)

It was a while ago but…

Shinya: It was so long ago I can’t remember. Well, UROBOROS was a completely different album so I think it must have felt different.

Die: I thought we had a long time to go before it… But time flies doesn’t it.

"Before you were requesting ideal set lists from fans and I felt like that had an influence on your song choice for Budokan. Is it just my imagination or?" (From konpon takeshi)

The set list for Budokan was decided on before the band requested ideal set lists. You received over 1,000 set lists. How did you feel looking at them?

Shinya: I thought that everyone put a lot of thought into them.

Die: There were some pretty original set lists so it was interesting.

Yes. The fans worked hard to make the set lists for you. Now talking about the Budokan set lists, it seems that “aoi tsuku” and “umbrella” were quite a shock and we received many questions about them.

"What was the impetus that made you to decide to play old songs, nostalgic songs, and songs you hadn’t played in a while and was there a reason you wanted to perform them?" (From ryuta411)

"Who decided to play aoi tsuki?" (From hikari)

Shinya: I can’t remember who decided it.

Kyo said before that he’d been wanting to perform it for a while. Was there anything that made you want to perform older songs?

Shinya: Ahh that’s right. I think we just kinda ended up deciding on performing older songs through our conversations.

Die: There were songs that came up before as a selection for arrangement but that we didn’t progress further with… Since this time we played the old songs in their original versions we wondered how it would feel to play a song now which we made 17 years ago.

I see. What were you thinking when you actually decided to perform “aoi tsuki”?

Shinya: I like playing our old songs so I was looking forward to it.

Die: Well playing all together the timing was different from that of the current Dir en grey so it took a little while to grab hold of the flow.

It seems like “aoi tsuki” was in particular surprising for everyone. We received many messages like “I was so surprised” “I thought I’d never be able to hear it live again so I was really happy” “I became a fan of Dir en grey at the time that MISSA was released so the moment it started playing I remembered many things and began to cry”

"Everyone became excited from surprise and happiness at hearing old songs. How did you feel after you’d played them?" (From su)

Die: We played “aoi tsuki” the first time we played at the Budokan in 1998 so I felt strange while I was playing it.

Shinya: I felt the same.

So you were also excited?

Shinya: Yes.

"What was most difficult about the Budokan shows for you guys? Shinya, you wrote that you were practicing right up until thirty minutes before the show. For example, which song was particularly hard?" (From parinko)

Die: For me it would be MACABRE. Because if you miss something once, its very difficult to get back into the song. Maybe you also say that’s why the trauma at the Okayama concert last year occurred.

It is a long song isn’t it? 16 minutes! What about you Shinya?

Shinya: There weren’t any particularly difficult songs but having to remember around 60 songs made my head burst.

"Did you feel the heat from the fire bursting forth on the stage? I was surprised I could feel the heat from the second balcony." (From yumetasu)

Die: If you felt the heat from the second balcony then there’s no way we couldn’t feel it on stage (laughs)

Of course (laughs) Shinya, you were the closest to the fire…

Shinya: I was asked this by around 100 related persons who viewed the show. My body gets even hotter while performing so actually it was cool.

100 people!? (laughs)

"The lighting during "dead tree" which was round like light from the sun, was really cool. It was the same as what you did at the UROBOROS concert. Was there a reason for this?" (From miimi)

Shinya: We did it at our Budokan performance before that as well.

Ohh you remember well!

Die: It’s very impactful so we decided to use that effect again.

I see. Inoue said he wanted to direct the performance for it. Did you have a favourite performance?

Shinya: When the screen was split five ways (showing each of the members)

"What did you say to each other after finishing the first day? Also, based on the first day did you change any of the performances, or the set list?" (From yuki)

Shinya: I don’t think we changed anything.

Die: Each song had its own stage performance and lighting so we’d only change something very rarely.

Yeah. With a tour you pick and mix songs from a selection but at a bigger show the stage performance and lighting is very elaborate.

"Was there a difference in the audiences reaction at the end of the first day and at the end of the second day? If so, what kind of difference?" (From kiryuu)

Die: For both days I can only remember reflecting back.

Shinya: It was the same both days.

"Which song did you get the most excited during? Of course your mood will change based on the song order so I don’t mean that you get the most excited during each time you play it. Especially for Shinya, you don’t come to the front of the stage and we can’t see how you’re feeling so I’m interested to learn." (From mami)

Shinya: I was excited playing songs we normally wouldn’t play like “aoi tsuki” and “umbrella”.

Die: Recently rather than getting excited, in various ways I feel more nervous.

"When you play such a big event it’s decided a long time beforehand. Were you sad when the second day was over? Or were you relieved?" (From waowao)

This time in particular you’d been continually playing live so it must have been hard mentally.

Die: We had a tight schedule – returning from Australia early in the morning four days before the Budokan shows and from then rehearsing for three days. (Our flight back home from Australia was cancelled but) We agreed to do the tour in Australia fully aware of what it would be like so there was no way we could do a bad performance at the Budokan. After having that tension for the two days when it ended I felt relaxed.

Shinya: I had various things planned for after it so I wasn’t really immersed in the lingering memory of it.

Did you watch the final video backstage?

Die: No, I watched it from near the stage wing stairs so I watched it on the same screen as everyone else. I was surprised at how loud everyone was and it made me excited(laughs)

You watched it on the same screen as everyone else! That’s a surprise! What about you Shinya?

Shinya: Yes. I watched it from the side of the stage. I was also excited.

People were really shouting loudly weren’t they!

"Did your feelings about the new album change after you made the announcement about it?" (From hikariko)

Shinya: They may or may not have.

Die: We’d been doing work on the album since last year but I think inside I’d been constantly feeling the pressure of playing at Budokan. I think I was finally able to change into album mode after Budokan.

Thank you very much.

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DUM SPIRO SPERO interview Kyo x Kaoru

After requesting questions concerning the Budokan shows we recieved over 300 in a short time. It was a little while ago but I hope you can remember and tell us about many things. It was a long time ago but firstly I want to start from the time when you decided on the Budokan shows. I think you’d been thinking about doing a DUM SPIRO SPERO show at the Budokan ever since the release of DUM SPIRO SPERO. But it wasn’t until 6 months before the show that you properly confirmed a date.

"How did you feel when you decided on the Budokan shows? Did it feel different from when you decided on the UROBOROS shows? Also when you decided on it did you have a clear vision of how it would be?" (From mippi)

Kyo: I thought it would be tough because of our schedule before the Budokan shows.

That’s right. Everyone wanted to perform as much as they could, adding the Budokan shows to the schedule and then as it got closer to the date you decided to play in Australia as well, so it became quite a hard schedule. I think it must have been really tough. What about you Kaoru?

Kaoru: When we decided on it I wondered what we should do.

I see. From that stage I think you would have gone on to deciding the set list, which we also received many questions about.

"When did you start thinking about and decide on the set list?" (From Junya)

Kyo: If I recall it was quite late.

Kaoru: Checking my phone history the first time I messaged anyone about song choices was  on the 9th of January so I think  we began thinking about it around New Years.

So does Kaoru make the foundation then everyone decides the rest together?

Kaoru: For a normal tour I’ll ask what songs everyone wants to play but this time I made some of it first.

"Before you were requesting ideal set lists from fans and I felt like that had an influence on your song choice for Budokan. Is it just my imagination or?" (From konpon takeshi)

Kaoru: We decided most of the set list earlier, so I don’t think there was any influence. Looking at everyone’s set lists there were so many songs, from the standard to the interesting.

So even before you saw the set lists you were thinking about playing older songs?

Kyo: I’d been wanting to perform “aoi tsuki” for a while.

Speaking of which, how did it feel to perform “aoi tsuki” after such a long time?

Kaoru: I thought “It’s a strange song” I’ve tried to rearrange it before but it consists of a strange balance so this time I didn’t try to rearrange it.

"The set list on the second day hardly overlapped with the first day. Was that something you decided on from the beginning? Or did it just become that way as you were choosing songs?" (From Ei)

Kyo: Yes, I think we decided on that in the beginning.

Kaoru: Before I started working on the set list I thought it would be okay to have some overlapping in the encore. But looking back that changed.

"You said that looking at the world view, you moved MASK to your tour before Budokan. Were there any other songs you wanted to play at the Budokan which didn’t end up making the final cut?" (From someone who has a complicated kanji name and the type is too small for me to read it XD)

Kyo: At first we were intending to play MASK at the Budokan but then we changed it to aoi tsuki.

Kaoru: Yeah. for the Budokan I don’t think there were any others. Though there were a few for the previous a knot tour.

"Did everyone decide all of the set list together, or did you only decide on a certain amount of songs before hand then had songs you changed on the day?" (From K)

Kaoru: We decided together.

Kyo: I think we changed some in rehearsal.

Kaoru: Because Budokan was on such a large scale and had stage production it was mostly all decided beforehand. At the rehearsal a few days before Budokan we thought about the balance and atmosphere of both days, and made firm decisions.

I think you moved some songs from the second day to the first.

"Who decided to have the music box versions of songs playing at the beginning?" (From Koharu)

We also heard that playing the music box versions of DUM SPIRO SPERO songs before the concerts began gave the concert an extraordinary atmosphere.

Kaoru: We actually began making them to play at the end of concerts. But we made a few songs so decided to play them at the start of the concert this time. Actually making them was an art.

We also received many questions about the stage performance.

"Who decided on the videos you played during the Budokan shows, and when did you decide on them? I’m interested in how you guys and the staff discussed the videos like "For this video we’ll film the members, that song we’ll use the music video for, let’s make a new video for this song" etc. If it were possible I’d love for you guys to sell a collection of the videos used." (From Jun_A_Datch)

Kyo: We decided together with the staff.

Some were based on member’s plans, and for others the video director and Inoue brought ideas to the members and asked their opinions.

Kaoru: That’s right. Inoue is in charge of the stage performance so we express our ideas to him abstractly while making it.

I have the image of the members expressing their vague ideas then the director and Inoue troubling themselves over how to express them. (laughs)

"How much time did it take to do your make up on the first day? I had goosebumps when I saw Kyo’s performance of THE BLOSSOMING BEEZLEBUB with his face projected on the screen." (From natsumi and kisei)

Kyo: I think around an hour.

I’m surprised by how smoothly he puts it on and how quickly he finishes it. Only for the first day you decided to do the makeup when you decided on the set list.

"Do you have a favorite performance?" (From Onji)

Kyo: I can’t remember anymore.

Kaoru: I think saku was good wasn’t it? (laughs)

"Did everyone hear us singing during THE FINAL and when we called out encore?" (From mik)

Kyo: I heard it. Thanks.

Kaoru: I heard it in a place close to the seating in the arena.

"How did you feel when you returned backstage after the encore on the second day and before the new announcements?" (From kiryuu)

Kyo: I was… sleepy.

Kaoru: Hm how did I feel? I think I felt good.

"How did you feel when you heard the loud cheers of the fans after the announcement of the summer tour and new album?" (From nomenai ocha)

Kaoru: I worried that they would be thinking that GAUZE would start from now.

Where did you listen to the fans?

Kyo: From the side.

Kaoru: The same as for THE FINAL near the arena seats.

So you were surprising close to the audience!

"TOUR14 PSYCHOCONNECT -mode of GAUZE?- was a surprising announcement. Who suggested it? What thoughts do you have towards performing old songs again?" (From koga)

Kyo: I think it was everyone.

When I heard that there was an idea from you guys I was really surprised! Rehearsal is from here on out.

Kaoru: But wouldn’t it have had to have come from us? (laughs) I will try to recall the old songs without thinking “remembering this phrase is such a pain!”

"The last song you performed on the second day was saku wasn’t it. "saku" also includes the meaning of "beginning" right? So does that mean it’s the start of Dir en grey’s evolution from here on out?" (From Katou Tomoya)

There were a few other people who also felt a new start from saku.

Kyo: Not in particular (laughs)

Kaoru: We didn’t think that much… It just happened to be saku last. (laughs)

"What were you thinking when you finished the second day’s show?" (From su)

Kyo: I felt like “It’s over!”

Kaoru: Ah we just announced that we’d release an album…

"Did your feelings about the new album change after you made the announcement about it?" (from akariko)

Kaoru: I wonder if they did.

Kyo: They didn’t.

Thank you very much

(Sorry I haven’t posted anything in forever!!! I should be back to posting more now :) )

Toshiya aibiki no mori

How are you?

Since playing at the Budokan and taking a rest we’ve been creating our new album and building up our pre-production everyday.

At the Budokan we said we’d release our new album in November… so we have to work hard to somehow finish it in time… but in hindsight we should have just said something vague like “in winter”

Work on the new album is going forward steadily step by step.

…I don’t have anything to say.

Damn.

Was there something I wanted to write? A,aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa no, I can’t just say aaaa can I?

Okay okay… Yes.

I’m sorry.

…it’s become warm recently hasn’t it. You can get about comfortably during the day with just a t-shirt on…

…it’s nearly rainy season. When the rainy season ends it’ll be summer… And speaking of summer it’ll be the GAUZE tour.

Seems like it’s gonna be a hot summer.

Our GAUZE songs…. I’m looking forward to how this song and that song will turn out and sound when we play them, and how everyone will react.

Also, our Budokan DVD will go on sale. I think the bonus CD is something more than just a bonus CD.

I’m looking forward to that too.

So, how was this issues aibiki no mori?

I wonder if I haven’t made a forced landing?* But.. It’s nearly summer!

The photos used this time were taken by Mr. Ogata on our last US tour. In the past free masons used to conduct secret meetings there. And the hat I’m wearing is also a free mason hat apparently.

Well, see you in the next “aibiki no mori”

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Dr nemunemu no daigyakusyu Shinya

Hello everyone, this is nemunemu’s corner. While I’m writing this it’s the middle of the rainy season, so it’s been raining everyday. And when you think of rain you think of ramen so I went to make my own original cup noodles at the cup noodle museum.

On this day as well it was raining from morning so it was perfect day for cup ramen.

Anyway, I hadn’t eaten all morning so I decided to have something here.

In this place you can try many noodles from different countries. There was also a Japanese chicken ramen stall.

Dr nemunemu was hungry so he was not adventurous and only ordered safe things. chicken ramen, Korean cold noodles, and Italian pasta.

The taste was pretty average. All the ramen there was half size, so even after eating three plates Dr nemunemu was still hungry. There were no safe choices left, so I was bold and tried Thai tom yum goong noodles.

Dr nemunemu can’t eat coriander, so I had it removed but there was still the taste of it and as well as being pretty spicy there was also a sourness maybe from some lemon, so straight away I started to feel ill. Since my stomach was already satisfied I went to explore another floor.

Here instant ramen from past to present was displayed.

There was fujiko.f.fujio’s doraemon ramen.

This museum overall is very supporting of hiyoko.

After walking around and seeing many things I finally tried making my own original cup ramen. Firstly you have to buy a cup from a vending machine.

Then you draw a picture on the cup.

Under the influence of the hiyoko advertising Dr nemunemu also drew hiyoko. After completing your picture you fill the cup with noodles. You pull the handle by yourself and noodles come out.

Then you choose the soup and ingredients. Dr nemunemu went for seafood flavour and chose green onion, kimchi, crab kamaboko and hiyoko naruto.

The you put the lid on and get it covered in shrinkwarp. Hiyoko was shrinkwrapped.

Then put in it’s own bag and it’s complete!

Being satisfied at having completed it, I thought I’d look at Hiyoko goods on the way out, but the store had already closed.

This happens every time. There was nothing I could do, so at the exit I took a memorial photo with Hiyoko.

Leaving the museum I wondered into a nearby store, and they were selling those Hiyoko goods! I was surprised to see Hiyoko goods in such a place. But when I rushed over I saw it was a different chick! They’re so easy to confuse!

And with that this issue’s nemunemu comes to an end. This time’s present is the original cup ramen that nemunemu designed. But there are conditions. The cup noodles will go off so, please reply within the first week of this issue being sent out and I’ll send it quickly to the winner. When it arrives please eat it quickly and send me your opinion of it. I will publish your opinion in the next issue.

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Die meisyo de meisyu

"GAUZE"

If I remember correctly it was in 1999 in a studio in Los Angeles where I first heard this word as a contender for the album title.  Thinking about how long it’s taken us to name other albums, I think that we named GAUZE at a very early stage.

I could not have imagined that seven years later I would be returning to Los Angeles to play live.

I wonder how long it’s been since I listened to this album from start to finish.  Since I only listen to old songs when we decide we’re going to play them on tour.

So since we will do the GAUZE tour for the first time in fifteen years I listened to all of GAUZE. I’m going to write about what I thought, felt and remembered from listening to each song. If I wait until the next issue I will probably have completely forgotten. (laughs)

"GAUZE -mode of adam-"

Listening to this a shiver runs down me and I become excited. While recording the guitar for it I remember playing my Em cord loudly then Kaoru who was sitting in front of me messed with my guitar strings and made noises.

"Schwein no isu"

Geist Seelee Wille Zelle In order to record those four words being shouted we got many bandmen and friends to join in the recording. Listening to it now I felt like it was a message to us who had just debuted to fire us up to work hard. The shouts contain so much raw spirit. It’s the best.

"yurameki"

Right before we were about to record this I was still troubled over my guitar phrase and couldn’t decide on it. But then Kyo casually said to me “What about like this” and it loosened my mind which had become rigid. I realized that doing something simpler would be okay and I was able to face toward the song naturally .

A point of this song for me is the B melody.

"raison detre"

Yeeep, for this song I just think of the music video. (laughs)

"304 goshitsu hakushi no sakura"

When I was in a taxi the drum phrase for the intro and the flow of the chord randomly came to me and I thought that when I got home I needed to give shape to it, so upon returning home I quickly began work on it. The melody and chord came to me quickly and I was able to see the shape of the song at a quite early stage.

By the way, The room number of  the first apartment I rented when I moved from Mie to Osaka was 304.

And also when I was living in that apartment around 3am in the morning one night I woke up to the fire alarm going off. Thinking it was just some prank I checked outside anyway and when I opened my front door white smoke came billowing in. Then I quickly ran away. The fire was in the apartment right below mine so the stuff I had been storing on my balcony all turned completely black.

"Cage"

We went to Los Angeles for somewhere between 10 to 14 days to record this song but the direction of the song was changed again and again and time passed without us being able to decide on the arrangement… In the end a concert in Japan was organized and so we returned home. Then one week later we  returned to Los Angeles and finally began recording. I wonder how much it cost to produce this one single. It’s terrifying…

"Tsumi to batsu"

I think the music video was filmed in an abandoned building in yuubari in Hokkaido. But even though it was Hokkaido it was mid summer and really fucking hot in my full body pvc costume and we shot at a lot of locations. Considering we weren’t shooting battle scenes. (laughs)

"Mazohyst of decadence"

Listening to it for the first time in a while I felt a strange temperature. Its a bit cool (temperature) and has a lukewarmness to it. I think this music video which the director Kindo made is wonderful. "yokan"

The flow from Mazohyst to this song. You wouldn’t think it’s the same band (laughs)

The cord progression and melody came to me quickly and I was able to complete it quickly. But in the first demo the melody of the hook was different. I re-made it thinking it shouldn’t have a smooth flow, but instead be more impactful.

An image of white costumes. When we appeared on a music tv show a certain female singer said about the costumes “How are they..”

"MASK"

I strongly remember bringing a large crane to Amagasaki live square, a small live house in Hyogo with probably a capacity of 250 people to film the music video. Amagasaki live square was the home ground for the first band I joined when I moved to Osaka and we played there every month. At one time we played at the same event there as Kaoru’s band at the time,  and I remember we had our first conversation there, while packing everything away after the concert. It was just a casual conversation but I still remember it now. But before that actually apparently I played at the same event as Shinya’s band at the time, but it seems that we missed each other and we both have no recollection of it…

"ZAN"

There’s too many stories with this song…  from recording, playing it live, the PV, music station.. etc Actually, I want to use this space to apologize about something. At the time when we’d play this song as lives for 30 or 40 minutes, and I’d remove my hands from the guitar and not play enough, instead just stirring up the crowd. I’m sorry for getting angry and saying after the concert that that in the middle of it the rythym was lost. You guys are amazing for clapping for so long.

"Akuro no oka"

I thought again that this was the right song to be last on the album. For some reason the moment after the acoustic guitar intro when Shinya’s fill comes in and the band’s sound comes together I became teary. At that moment I’m brought back to that time, and it’s like the fragments of my memory play back to me in a slideshow. At that time every day was unbelievably busy, and everything was new for us so I get the feeling it all went by incredibly fast. They were days in which without even knowing left from right we just have to keep going forward. When I think about it now, it was very fun.

I wonder as time passes if even those memories will slowly fade away?

[GAUZE -mode of eve]

And again, to Adam…?

In regards to the performance aspect, being gentle, (laughs) I felt like it’s an album full of the very pure great energy of some young people who weren’t bound by (or didn’t have?) common sense. An album that is amusement park-like, exciting all five senses.

Our musicianship has changed from the past, and certainly the form of our music has changed drastically, but listening to this album I feel like the roots and  the true nature of our music is still the same.

August 2014. The first Dir en grey mid-summer tour in a while.

Look forward to it.

See you soon.

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DUM SPIRO SPERO Toshiya x Manager Takabayashi

Good work on the Budokan shows. Today I’m going to talk to Toshiya and their manager Takabayashi who is often by their side.

"How did you feel when you decided on the Budokan shows? Did it feel different from when you decided on the UROBOROS shows? Also when you decided on it did you have a clear vision of how it would be?" (From mippi)

Did you talk with the members like what about having it this way...

Takahayashi: I get the feeling that we talked about performing at the Budokan from a pretty early stage.

Toshiya: When it was decided I was firstly happy about playing at the Budokan. But, since we were going to do it, I wanted to surpass our previous UROBOROS shows and in the two days express our current world view. Which I think the other members were thinking as well.

"With the girl floating in the music clip for LOTUS, seeing each members face up close on a 5 way split screen, showing the audience on screen etc the screen behind the stage was very impact-full. Did you guys have suggestions about the performances? Also I’d love to hear any of your feelings towards the performances." (From Akari )

Toshiya: We received many ideas from our staff and chose from them. There were many things we wanted to do and many of them were realistically impossible to do but I now feel like the build up of such discussions led to how the shows turned out.

Takabayashi: Simply stating how I felt watching it, the use of the whole hall in the performance was impressive, with the parts when there were no lights from above, showing even the audience on the screen, and lights stretching up to the ceiling. I don’t think you often see a video where insects are racing towards the audience.

“I think that the two days left quite different impressions. Were the shows both one story, starting at the beginning of the first show and ending at the beginning of the last? I had the impression that we started in darkness then ended wrapped in a white light.” (From 36517)

Toshiya: Hmm. The flow of the two days was that they were one together. But I don’t feel that you couldn’t experience the world view if you only saw one of the days. Unfortunately there were some people who could only go to one of the days. But because some people came to see both days even though both days are one we wanted to also make them separate from each other and we tried to make a setlist with no covering songs that people going to one or both days would enjoy. Based on that the Budokan shows ended up how they were.

Takabayashi: What image did you hold for the concert?

Toshiya: It’s not an image, but I think that on both days, when leaving the stage each of the faces I saw were telling a story.

"Toshiya, why did you decide to perform kimigayo (the national anthem of Japan) on the second day? What did the other members think about it? The sound of it ringing out underneath Budokan’s rising-sun flag was wonderful. Thank you very much." (From Seiya)

Did the other members and Takabayashi know?

Toshiya: No, even I didn’t know. I only practiced it right beforehand (laughs)

Takabayashi: Even though I was backstage often I didn’t notice.

Toshiya: That was the most nerve-wracking part of the day for me (laughs) Because I was so nervous I messed up a half-tone at the start. But I’m glad I performed it. Because even I felt tense.

Takabayashi:  In the intro part you always ad-lib some different bass phrase, but I never expected you to play kimigayo at the Budokan. I was excited.

“what was your favourite performance” (From Onji)

Toshiya: Generally, each songs performance was designed to leave an impression so I like them all.

Takabayashi: Its amazing that each songs performance leaves an impression. Just speaking of the budokan, for “kodoku ni shisu, yueni kodoku” etc, the moving from the top was impressive. I think that the fire must have been hot… Didn’t you feel hot playing near it?

Toshiya: It was hot! (laughs)

"You played many old songs. Which was the most difficult?" (From Parinko)

Toshiya: Because there were so many songs, the hardest part was remembering them all. But aoi tsuki and umbrella are songs I’d chosen in the past so it felt like they fitted easily in me.

Takabayashi: I watched both aoi tsuki and umbrella from close to the audience and I saw many surprised and delighted faces.

Toshiya: Yeah (laughs)

"Was the 2nd days encore planned from the beginning?" (From Satsuki)

"When did you did (or your staff) decide that you would perform saku?" (From Yuujin)

Toshiya: It was like we decided if we do a W encore then let’s do saku.

Takabayashi: We really only told a few people about the encore.

I“‘ll never forget the image and voices of Dir en grey and the fans all becoming one during sustain the untruth. Is there anything that you also won:t forget about the budokan shows? Or that left a great impression?” (From Yui)

"Your first show at the Budokan in 3 years surpassed my highest expectations and has become my favourite concert of yours that Ive been to. From the fans point of view, the Budokan is a special venue to play at, for you guys as well is there anything that special and different about it compared to playing other venues, or do you have any feelings about it?" (From Kaina)

Toshiya: Yeah, I’ll never forget that scene either. I as well feel that the Budokan is different from other venues and that it’s a place where special things occur. Which makes me even more nervous than usual when I play there (laughs)

Takabayashi: You would get nervous wouldn’t you. Entering the venue I thought you guys held the same atmosphere as usual. I thought you guys must have gotten used to playing there.

Toshiya: No, no matter how many times we play there we’d never get used to it.

"Did your feelings about the new album change after you made the announcement about it?" (from akariko)

Toshiya: Yeah my feelings changed towards it after the announcement. I want to do it more like this want it to be like this. Desires for the band, concerts, and personal things all come out. It’s strange but after something ends I become controlled by a strong desire to face forward. So naturally I began to face towards the new album I think? No it changed to a desire for more I think.

"Doing the DUM SPIRO SPERO tour, then playing at the budokan, are there any songs from DUM SPIRO SPERO which have changed or transformed? Or which you think you went to the deepest place with?" (From Black serpent)

Takabayashi: There are many Dir en grey songs whose impression changes when you see them live. Maybe by seeing videos etc the world of the songs become fully realized.

Toshiya: What is the DUM SPIRO SPERO inside of me… Of course there are songs I feel have changed and songs I feel have transformed but what has constantly stayed the same inside of me is that it was born in the midst of that big disaster (the 2011 earthquake/tsunami) I think that will never change. So when I play songs from DUM SPIRO SPERO those memories come back to me… It’s an album with parts that change, but also with parts that like a scar stay forever unchanging inside of me. But we are all alive, so now it’s like all five of us are again struggling towards our next album. (laughs) I can’t say anything yet, but no matter what kind of album it turns out to be, I think it will definitely contain the current five of us. So please look forward to it. (laughs)

"I was unable to attend the Budokan concerts. But when you said afterwards on your blog "thank you to those who couldn’t attend as well" I was really happy, so even though I wasn’t able to attend I’d like to ask a question about the future Dir en grey. I was surprised that you played "aoi tsuki" on the first day, but I was the most surprised about your announcement of the GAUZE tour. Why are you continuing it? did you have to? I’d like to know about the circumstances leading up to this decision. Do you already have any visions of what kind of concerts they will be?" (From Aoi)

Toshiya: We decided on doing “TOUR14 PYSCHONNECT -mode of “GAUZE”?-” simply because it’s been 15 years since we released GAUZE and because it’s now we’re able to do it. Though I have a strange kind of feeling like it’s not just that. (laughs) You could say we’re being led by some mysterious force… Yes. In the end, There’s no answer but part of me thinks you can grab hold of a hint.

Takabayashi: I was surprised when you suddenly started talking like that with Inoue. I was thinking about going looking for the costumes from that time (From GAUZE) (laughs)

Toshiya: Of course that would be… (laughs)

Finally, can you give a message to the fans?