#gacktracks

August 2015 / B=PASS GACKT

14 Special TracksGACKTRACKS -ULTRA DJ ReMIX-, the remix record that was produced with the involvement of Japan’s prominent DJs, like DJ Koo, Jazztronik, ROCKETMAN, and others. On this occasion, we will be talking about all 14 selected popular songs, new and old, which had a new attractiveness drawn out of them through bold arrangements, and his vision of the LAST VISUALIVE.

Text: Mami Akagi    Photo: Keiju Takenaka Hair & Make-up: Tetsya Okugawa (dynamicdynamic)    Styling: Rockey Costume: Vest (SHELLAC), Cut & Sew and Denim and Belt and Boots (VILLAGE), Accessories (GEMCEREY)

Part 1 | Part 2

“When I make the next band, maybe I'll add the feel of club music taste.” 

――Was there any point when GACKT-san felt the urge to try out being a DJ yourself?

GACKT： Honestly, I wouldn't want to do that solo. However, when I make the next band, maybe I'll add the feel of club music taste. Because in the first place I planned for something like that. Therefore it became a really good point of consideration.

――I see. Incidentally, right now dance music is in vogue but, to GACKT-san, when thinking about the relationship between "music" and "dancing", what is each of their positions relative to the other's like?

GACKT： Hm…… The relationship between “music” and “dancing” is, for music, it attracts consumers for a business, I believe it has an important economic benefit. At present you can't sell CDs. If you do that you can't be a musician. As to why, it's because the system where by you make sales profits from the people who buy CDs you released has completely collapsed. From a musician's point of view, it might be something that they would call ridiculous, but if you're asking me, I would say 「the era of the CD bubble was weirder」. During the CD bubble that lasted for around 10 years from the year 1990 to the early half of the year 2000, everyone was too focused with the method of “growing the market and the musician with a sales strategy centered around CDs". Regardless that it was originally the center of the majority of a musician's profits, deviating from that, they'll become specialised with making a CD and how to sell it. In the end, this will create an environment in which the next generation of musicians cannot thrive.

――So you're saying that it's a structural problem.

GACKT： Even amongst musicians, about DJs and remixers, there are people who say 「aren't they just people who combine people's songs together?」. But I doubt that and wonder 「is that really so?」. Indeed, they may not be considered as original, and it's probably difficult to answer 「what part of it makes it their own song?」 but, these people don't really sell CDs. Because when these DJs make appearances, they are able to gather people at clubs,and with just that, I believe that this justifies them being defined as artistes. Music has simply become a tool to sell CDs, and in recent years this rotten trend has been around, in other words, it has facilitated the appearance of people who go by remixing and use music to gather more people. When you think from that view, the position of DJs who can draw customers is revisiting the fundamental ideal of music, and in that sense it is an untarnished flow.

――Meaning that it creates a place where patrons can experience and feel the music live right.

GACKT： That's right, actually, its because at these places the patrons are really "using the music". Buying multiple copies of a CD for the sake of getting certain privileges, then discarding the CDs…… I want to ask, is that really the right thing to do as a musician? The more you do something like that, without a doubt your music will go wrong, and the losses you sustain will be even greater. In the first place it is not something that we should be doing.

――That is true…… After this work's release, I'm sure you have many activities planned as well. The single release, birthday party event, and the 【LAST VISUALIVE TOUR】 is ahead as well.

GACKT： Yeah. I have to, work hard……（laughs）.

“For now I'll finish this run, then I'll probably think about what comes after when it ends?”

――At present how do you spend your days? Is it all work going on concurrently?

GACKT： While progressing with work, right now, the main thing for me is to heal my injured body. For the sake of pulling off 【LAST VISUALIVE TOUR】 properly to the end. All the while during these 16 years, because I've been doing reckless activities, I've put quite a bit of burden on my body. Well, I guess it comes back to haunt you? or something…… Because I've been pushing myself to the limits until now, you can pretty much say it's of course that this would happen though.

――Which part, specifically, hurts or has gone bad?

GACKT： Now my back is really bad. Because it really hurts when it gets cold, more often than not I'll always be in an area that has a higher temperature and is warm. While looking for various environments where I can live comfortably, the place where I unexpectedly felt that was suitable for me was Dubai. Everyone said 「It's hot! 」 but for me, that humidity and temperature is perfectly bearable. It's the same as Japan in the sense that it has no natural resources but, I was surprised that Dubai is really progressing, including for their tax system and their acceptance of foreigners. Right now, isn't it the fastest progressing country in Asia? Well, when you ask 「right now, what is something that Japan is proud of? 」, to me, it's not trade, only culture is left. History, services that are uniquely Japanese, our music, etcetera, until we export them quickly, to the foreign countries, it will become an era where we're can't show them 「this is what Japan is all about 」.

――So you're saying that we have to build Japan's identity based on our culture.

GACKT： Unless people start to see that it's useless. At one point in time, something called J-POP was built up, and to a certain extent it penetrated the Asian market. But, right now, there's no more Japanese-produced music going around. To me, I believe that the current mission we have to pursue is to figure out how, as a Japanese, I can delivery music out of Japan.

――So GACKT-san, as someone whose name is well recognised overseas, has to take the lead right.

GACKT： Well, it's because thus far I've been having activities overseas as well. Also, most of Japan's musicians can't speak foreign languages. Isn't that part of the problem as well （laughs）? Although they've studied for 7 or 8 years, it's amazing, the percentage of people who can't speak a word of English despite that. It's a special trait, of this country. Really!

――When you said that your physical condition is bad, you'll want to rest but, when you think of the fans waiting for you, you'll want to continue your activities more so…… you have mixed emotions.

GACKT： Right now, I'm not exactly resting. While healing my body, I'm doing training, I'm also carrying out production activities, that's the situation now. In any case, I'll run with all my might until the end of the 【LAST VISUALIVE TOUR】. I'll finish this run, then I'll think about what comes after when it ends. If I have my body, I can still do it anyway, unless I don't have it I can't do it. So unless I try doing it, I won't know.

――At what stage has the 【LAST VISUALIVE TOUR】 progressed to?

GACKT：Ah~ I can't talk about that yet.

――Understood （laughs）. I'll look forward to it.

GACKT： Thank you.

≪My season≫ GACKT introduces what he's most interested or into recently!

Dubai

Part 1 | Part 2

In the late May, I was blessed with material for a chance to interview GACKT for the first time in awhile. World renowned Japanese DJs have come together to work on『GACKTRACKS-ULTRA DJ ReMIX-』, which was to be released right before his birthday (4 July) on the 1 of July. On hindsight, maybe its because of his injuries or something else, GACKT mildly started responding to the interview with a nonchalant expression, all while perched on a balance ball. No matter how short the period of time, he is one who definitely won't sit idle without a goal. A few years back, even while having a shoot for a certain book, deciding not to waste the time he spends waiting for set changes, I recall the image of GACKT quietly reciting and repeating words in a foreign language, which is still superimposed in the 2015 GACKT.

GACKT, the perfectionist and wholehearted creator who is thorough with his particularities down to the details of performances, has, in this work, surprisingly revealed that he has left the selection of DJs and the songs that they take on up to themselves. To understand the reason behind this, I openly asked him for an interview. In addition, GACKT has announced that after the 【LAST VISUALIVE TOUR】 he will be taking a break from "VISUALIVEs" his signature stage shows which combines live concerts with visual expression. In all of that, what are sentiments does the multi-faceted performer, GACKT, live by these days? I ask about his current position, and understand his emotions more.

"Because it exceeded everyone's expectations, I thought「it's great that we did this」, and it inspired me quite a bit."

――While listening and enjoying the music, I had an unexpected discovery that GACKT's songs, even the ballads could even be arranged to dance beats. In the first place, what made you want to create a concept like this?

GACKT： With the assumption that we're going in the direction of starting on the【LAST VISUALIVE TOUR】soon, there was the flow of wanting to speed up and get people excited. Thus, the idea was born when I started thinking, "Not only to my current fans, if I could convey the songs to people I've yet to touch...", with the songs that have created by GACKT until now. So while wondering how many of the DJs, who represent Japan internationally, will be interest in participating, I reached out to them and they took up the idea faster than expected. I intended to pick on a first-come-first-serve basis but, when rumours of this project spread, there were others who came up requesting to be involved as well. That's why, I'm confident that we probably will do another one? It's really great.

――For example, like deciding which person gets to remix which song, what was the feel  of GACKT-san's direction?

GACKT： None none none! I already told them,「Do it however you like!」. This time, I didn't dish out a single order. I, myself, was initially a little worried and wondered「Is my voice suitable for DJ remixes?」, but against all odds I was surprised by the results. When listening to my voice as an instrument, I felt「Ah, so this is how it gets fit in」, and that was what surprised me the most.

――Did you get to hear the different stages during production? Or did you straight away listen to the final product?

GACKT： I did listen to the work in progress. Also, I though I might yell out「NO」in the middle of it but, in the end there was none of that, we progress with me exclaiming「This is amazing!」. My surprise was in the sense of "you can even remix this song!?". Like for「WHITE LOVERS -Shiawase na Toki-（DAICHI YOKOTA ReMIX）」and「Kimi ni Aitakute（Janzzin'park D＆B Remix）」and others. Including「Akatsukizukuyo -DAY BREAKERS-（el poco maro ReMIX）」and「Kimi no Tame ni Dekiru Koto（TJO＆YUSUKE from BLU-SWING ReMIX）」too. I was surprised by「Koakuma Heaven（FMP EURODISCO MIX）」too.

――「Koakuma Heaven」was similar in style to new wave music, and it felt fresh.

GACKT： That's right. Furthermore, the whole thing was in minor right? I was really moved by that,  I thought「This is awesome! To think the same song can become something so different」. As it far exceed my own expectations, as expect this was enjoyable. Generally because many of my songs are quite heavy, much of the time one has to really focus while listening to it. However, I guess you could say that overall, the music this time around can be listened to pleasantly. With this time's album, when I listened to it in that way,  there are many songs where I can inadvertently say「This is pretty cool!」. On the whole, all the DJ's approaches are really cool but, for「WHITE LOVERS～」and「JESUS（TeddyLoid ReMIX）」,「OASIS（MITOMI TOKOTO ReMIX）」somehow, I thought「Amazing!」. When I listen to DJ KOO-san's「CLAYMORE（ULTRA DJ ReMIX／DJ KOO）」, I even got goose bumps.

――DJ KOO-san was quite heavily involved in this project, or so I heard.

GACKT： Yes, in the sense that he did a substantial amount of research. I'm happy, I' really thankful. Until this, we had nothing to do with each other besides when we happen to meet during TV programs. Amongst all the collaborating DJs this time, honestly the only person who I've met, spoken to, had drinks with, and connected personally is Mark（「CUBE（DanceFloorExperience MiX／MARK PANTHER）. However, because everyone really exceeded my expectations, I thought「it's great that we did this」, and it inspired me quite a bit. There are times when it boils down to wanting to go in the direction that you want to go in on your own but, by broadening out like this, it makes me think「Ah, so there are things like that too」. Things like that make me glad. Overall, including the song order and the music video, to leave everything to someone else's discretion, it is a first for me but, I really got to feel everyone's talent and abilities. Because if I gave out orders instead, the merits of that person will definitely be shut away. Saying「If you don't do it like this, it's unacceptable」「If you don't do it like that, it's unacceptable」right from the start will make things uninteresting. Because these guys already have their own tastes, and also when you line them up amongst other DJs they're already famous in their own right, I believe each of them are definitely hyped in their own way. They probably also have the sense of「not wanting to lose」...

――That's true. However, it's also amazing that GACKT-san can get used to the feeling of leaving it up to someone else. Because I believe that this wouldn't be possible unless you had a certain amount of respect for the other party.

──Originally, are the both of you acquaintances before this project?

GACKT： Not at all. We've seen each other on music programs but, we didn't really grow close from that. That's why, unexpectedly having KOO-san be involved in the remixing this time is... an honour.

──To KOO-san, what kind of impression do you have of GACKT-san?

DJ KOO： After doing this remix, I'm really into him（laughs）.

──In what way?

DJ KOO： In other words, he's cool, amazing.（With regards to GACKT's songs）My love grew (for them)（laughs）.

GACKT： （LOL）… I'm glad. To that extent, I'd really like to hear how bad an impression you had though（laughs）.

──To GACKT-san, what was your impression of KOO-san?

GACKT： Honestly, because I don't personally know him, from his image, a silent, scary person. But, having him do a remix this time, he surprised me with the sound that he created. The style that it was brought across in made me listen to the song over and over again. Despite that we never met up before this, it really makes me happy that he has this much affection for me.

──KOO-san, how was it when you first spoke to him?

DJ KOO： He had a lot of interest in creating an album using the approach of the dance music genre.

──Did the image of the remix you wanted to do surface immediately?

DJ KOO： He let me listen to numerous songs, and while listening to them, most had what should be there, and were perfect as they were. That was what I thought in the beginning. So when I started doing the remix from there, firstly I had the thought that coming from me, someone who does dance mixes, I have to bring something fresh, so this time I wanted to try making a GACKT song with a four-on-the-floor. To do that the most suitable song is「CLAYMORE」.

GACKT： Initially, I thought, "he picked「CLAYMORE」??" When I heard the remixed version of this song, I was surprised to find that this was a possible choice. I could not imagine at all how it would turn out, I had no idea at all. When I heard it, because it was something that far exceeded my expectations, this may sound rude to him but, I have the memory of saying over and over to myself "DJ's are amazing".

──Speaking of four-on-the-floor, this is KOO-san's field of expertise. Do normal DJs attach feedback playing to songs?

DJ KOO： Although I think this remains the same no matter the era, because it's easy to just take an existing song and remix it, you can give life to an original. Firstly, above all, it is worrisome that this "original" has a set key and 125 tempo. Even though it is possible to use other settings, you have to question why is it that they choose to use this tempo and key. That's why, we first have to look into this thoroughly.

GACKT： That does appear to be something that many people are into...

DJ KOO： The reason why is, the remixer receives a normal song with vocals, and use that as the axis in his work but, I also put the person before me... Even amongst the tracks I've received recently, this song is, in any case something of an amazing quality.

──This charm has become something you want to explore right.

DJ KOO： That's right. Though you can't really define this charm in a concrete manner...

GACKT： I'm glad... For him to be able to say this about me, and just to hear it.

DJ KOO： Recently, normal DJs do their remixes on their PCs with "copy-and-paste" but, a song won't get popular just like that. For that, using vocalizations that are different than usual, or bringing in the climax of the song a little later, these slight artistic differences make it amazing. When looking at the sound waves, you can calculate and understand this. Following that, whether to use an exquisite lead-into the chorus,or harmonies, I think that there are different reasons for their applications, with regards to that I would want to gather the junior DJs and discuss with them...

──It sure is an amazing world...

GACKT： For someone to delve into it to such an extent, normally that is quite rare right. The reason for this, being that such talk is not understandable to the layman, and in creating a song, there are those that are created by chance, and also many that were created with a calculated focus. In my case, especially for vocalizations, I am very particular about it in terms of the expression. Note by note, I look into the detailed nuances and intonations, for example, for me, even for one vibrato, I can shift around 7 to 10 different wave forms to use. As it were, many times I take the approach of a synthesizer basis to my voice, like applying distortion, or take the approach of an angel voice basis, and after trying out a different things, from there starting with the ones that I normally cannot sing and those that I cannot perform in actuality, I will put the final one into the recording. That's why, while thinking about the timing and the rhythm, I sometimes have to make slight changes according to the song, in other words, I make changes while aiming for a song that makes you feel good when you listen to it. For me, all the while I've always wondered how many people are actually aware of this sensation and can hear it. But, this time doing it like this and talking to KOO-san, I am happy with the creation of it, perhaps its something like it being rewarding to create. Even amongst musicians, it is rare that we can get an awareness to this extent, so for that it is something I'm thankful for.

DJ KOO： For GACKT, what he mentioned is a natural thing for him that he applies to himself, and delivers one sound. There are things behind that that are not what normal people have, regarding the parts of the song or the words or the control of the song's build-up, even parts that has to come across strongly can be delivered smoothly. That's why this time, with the idea that you will feel good once you get into the rhythm, without using the synthesizer and reverb much I made the delay the main draw. That feedback was used to match the vocals. Of course, because it will become just another vocal track, I did not add auto-tune either, and used that power according to the dance music. To finish it off, instead of EDM I used cyber trance, to have it feel more like an artiste's work than just another track.

──In other words, this time you leveraged on GACKT-san's song.

GACKT： If it simply became a work that is "copy-and-paste", I believe without a doubt the meanings of my songs will be misrepresented. At the very least my songs will be shaky. Besides, if you just add a tempo to something that is shaky, it will get worse, and when you think of reverting it, the goodness of the original song will no longer be there and rapidly disappear. To me, I've held that fear towards remixing, that's why right at the start there were times when I was debating whether it was better to just call off this project. But, I have actually been asked, and I was moved by the fact that someone could love the songs so much, for example, even amongst the fans, even if there were those who fell in love with the songs, I wondered if they would love these songs too. This time, even for the parts that I have been particular about, in addition to being aware of various things, the fact that he was able to approach this without disrupting those really made me glad. For me, I pride myself on being the best at representations in my songs. That I can say not only in portrayals, but also in the level of recording. Also, what was tried out was not only different from the original, but it can be considered as things that can bring it above and beyond. To me, there is no meaning to creating something that I cannot deliver better live than on the CD. It is a minimum prerequisite that I can perform it on par with the CD version. I'm particular about making it only better from there. However, there are people who don't even understand that. Those who do get it, are only a minority. There are parts where I feel I don't really have any choice about those, but I'm happy as long as it feels good when people come for the live, I feel that it's alright as long as I can create something unlike any other.

DJ KOO：I believe it can be said that GACKT does not take his songs lightly, you can feel that in the verses of his tracks, even for me, I've received good study materials this time around. Like where a breath is taken, or which part in his mouth his voice actually resonates. Now, my apprentice who went from Toho (School of Music) to Paris, has come back having completed 4 years of studies, and I asked him to write all about harmonies. By doing that, I can say that this kid, as expected, has a lot of interest in this.

──But, because you researched to that extent it made the affection grow right.

DJ KOO： As a DJ's music is something that is danced to, originally, it is basic that the four-on-the-floor is especially used to bring a song higher, it's mechanical sounding. That's why, to add in emotions here is a big no-no. But, when I think about making this mechanical sound the attractive point in the song, I will hope to make something even better. This time around, I made this without being bound by the rules of EDM and such.

──For GACKT-san, what's the appeal in dance music?

GACKT： Initially there was an era that melded classical music into rock music. In other words, it's not a musical thing but following the energy's direction, it is a one-way flow where the energy is received from the stage, but that is not the case for DJs and dance music due to the places where they appear and perform. The feel of the energy is one that flows from a center and outwards. Furthermore, for those listening to the music too, they don't return the energy from the front, but it feels like what is received is instantly converted. That's how I've always sensed it. Within me, in that moment, from how that energy is used, to how it is expressed out, the way it is enjoyed is in real time. What that means, is the way what we call music is used, compared to the flow of classic to rock, for DJs its very indigenous, originally it was folk music, and feels similar to religious music and rhythms, the energy starts from a center and spreads outwards. In a club, there is a stage, of course the music probably comes out from that one area but, the direction of the energy is completely different from that of a rock concert, it feels similar to the ripples in the water, like the feeling of everyone being synchronized together. And, I believe what ties that together is the remix.

DJ KOO： As he said, especially since it is enjoyed in large groups of people, there are even songs that can be conveyed simply with the bass. It's very enjoyable. This time's production was enjoyable too. We even came up with 8 different patterns in the span of a month. There was even a strings version and other versions.

GACKT：Certainly the second phase, I want to hear it in different forms. For me, about 15 years ago I tried the remix approach once, and after that time I thought to never do it again. What we did was take what we had and take it apart, throw in the four-on-the-floor beat, and completely ignored the original vocalization. I had the worry that it might end up like that again, but I was moved when I listened to the song that was put together. At the same time, what was clearly different was that I could feel Japan's DJs were unlike those before and have risen to the international level. For that I was really happy. It's really the best to have people like these undertake my songs and turn it into another creative work.

──Japan's DJ scene has really matured.

GACKT： Even the younger artistes, like me they can subtly shift the BPM, while creating something new they make new discoveries while overcoming the roadblocks that appear, when we, from different genres, listen to it, I wonder if it can be considered as feedback playing... Originally, it was something we absolutely had to do, we can't do anything without first researching. We do say that this song is good, or it sounds cool but, you don't know the reason why this song is cool. Because there is definitely a reason for that, we definitely have to research about it and put it into practice. In that sense you can say that I'm an engineer but, there aren't many musicians nor researchers who can say that. That's because in the first place doing things this way is a forte of Japanese. I feel that people should do this more.

──You rarely get to talk about these things right.

GACKT： Exactly. That's why, I'm really happy to be able to bring this up now. I was surprised that KOO-san was so into it （laughs）. However, unless one really does this seriously, it will probably turn out bad. It's not only about listening to the music, you can now easily get the materials to analyze what is behind a song, or why it sounds cool.

DJ KOO： This time's album is not simply about changing the form of the music by remixing, I think that this is something of great value. I believe that it can stimulate a variety of people starting with the fans, and as GACKT said, we can consider it as a direction that we were heading for.

──So you're saying that it can be appealing to musicians as well.

GACKT： This is a dilemma.

DJ KOO： To put it in words is indeed difficult, this isn't a forte of mine so I might not be able to say it well but, the value of music can only be understood after it's been chewed up, so if you can understand that, I believe that it can feel even more pleasant.

GACKT： In today's world, saying it plainly I believe that music has to get more widespread. Disregarding the fact that anyone with a phone can listen to music, there is definitely a reason why music is in its decline. Because everyone is unaware of this reason, music is rapidly getting separated from daily life and people. Unless the musicians recognize this, music will increasingly become more and more irrelevant. In the first place, the creators are not aware of what is missing. By using new equipment, using new methods, applying new styles, they lose sight of what they originally wanted to create. I guess the essence is that they don't realise that the spice that they thought they added in has disappeared. Although the same person is making the thing, it used to taste better in the past, like something has changed. If in it there is something that is lacking in actuality, it has changed. We have to recognise this, study it and pursue it. Because with the world progressing, the cost of making a song is falling too, even if you think about music starting with the need to get it more widespread, at this point in time the sales volume of music is only falling year after year. As to why this is so, musicians have to learn more. Because we can't return to what it used to be, if we don't do this now, it will only get even more difficult from here on. Also, if you cannot move a person with music... that's just preposterous.

DJ KOO： The original track I received this time was really one without compromise, but that is only to be expected. And to deliver something even better than that live, that's how far he thinks. He is a true pro at his work. To such a GACKT, really, respect!

GACKT： I'm grateful. Including my time in bands, it's already been more than 20 years since I started making music, there were times when I could not get the members and staff to understand the things I'm particular about. Because there were various kinds of conflict in these 20 years, I'm really blessed to be able to be understood and do this remix in this style.

DJ KOO： Likewise, my apprentice had a chance to learn, it was a really good session.

GACKT, Mitomi Tokoto, VJ WADAKEN ~ GACKTRACKS ULTRA DJ ReMIX ~