URUHA: I not able to relax because the cameraman is always here STAFF: It’s different from when they show up randomly URUHA: I don’t know, what do we usually do during free time? REITA: Usually? We just chit-chat about random stuffs. We usually talk about… URUHA: You are talking really loud REITA: Because we are being recorded
“It’s not that I want to stand out above everyone else in this band. But, there’s the side of me that rushes into things… After all, I’m the one who says ‘I want to do this,’ and of course I want them to come along. So…I think that probably, there are also members who lost their individuality in all this. And, if the members lost interest […] and just solved everything with saying ‘I’m fine with just following,’ then that would probably be it—I would give up on a band like that.
But, I mean, it clearly is not like that. Clearly there are things they want to do too. If that’s the case, they should bring things in more. There might be limits to our band right now but I want them to make songs that will surpass those, and I want to hear those things. Because the GazettE is the thing I want to do the most.”
the GazettE ~ Compilation of the most recent interviews dedicated to World tour ’16 (to vkh-press.com and myjhouserocks.com) ~
Q: For 14 years, the first time you go into a full world tour with a stop in the US and Canada. What feelings you cause upcoming concerts in North America?
Ruki: I don’t know what awaits us, but we will try to show our best side regardless of where we perform, so from that point of view I do not think that North American concerts will be different from any other. I’m curious to see, how much we can “make” the audience.
Uruha: I can’t wait to perform in North America, wait to go on stage.
Aoi: Honestly: I very long dreamed to perform in North America, so all I want to do - it is to be on the stage and to do my best.
Reita: I always wanted to play in the United States and Canada, so I can not wait to be there.
Kai: Really I am looking forward to performances in North America.
Q: Certainly among North American audiences will be those who are not familiar with your music. Your style is very dynamic; how would you describe it for beginners?
Ruki: Difficult question… I will say this: our music is more dynamic than it may seem at first glance, so be sure to come and see who we are.
Uruha: We are far from the standard band playing safe rock; as representatives of the Japanese visual kei, we create our music, which is not so simple to give a definition.
Aoi: Not a simple question! Maybe our sound is heavy, but we also pay great attention to the lyrics, dramatic development and other things, and we hope that fans will appreciate this aspect of our work.
Reita: Our style combines melody and heaviness.
Q: Have any of you been in North America? If yes, then where? And what places would you like to visit this time?
Uruha: Everyone except me was in USA.
Aoi: I traveled to New York for the recording/mastering and I want to see other places, nature.
Reita: I was in Los Angeles for the recording / mastering.
Kai: I was in New York, New Jersey and Los Angeles for the recording / mastering.
Q: Do you feel the need to perform the old songs, well known to your foreign fans, during the upcoming tour? What songs do you think they most want to hear?
Ruki: I wonder else: what will be the fans’ impression who know our creation only with recordings? How the impression from our live performances will be different from what they are accustomed listening on CDs?
Uruha: I don’t know, how what foreigners love different from the preferences of our Japanese fans. It will be interesting to observe the reaction on each of our planned songs.
Aoi: We always play both old and new songs. We don’t feel as if someone presses on us and requires to perform certain songs. I hope the audience will like the songs that we have chosen for the tour.
Kai: No pressure! Filth in Beauty!
Q: Recently, your work revolves around the project PROJECT:DARK AGE. For example single UGLY was the third part of the project, and each new part brings us to the GRAND FINALE. And what was your goal when you first announced the launch of the project?
Ruki: We wanted to acquaint listeners with our staff, to represent professionals, working with us, as full members of the group. We wanted to tell the world: “Look at these coolest guys!”
Uruha: We wanted not only to unite everything, related to DOGMA, into a single project, but also pay special attention to our team, the professionals who work for us in many different directions.
Aoi: In my opinion, then, at the very beginning, we just wanted to present to our fans all those talented people, who work side by side with the GazettE. We would like to say out loud: “Hey, look what great people work with us!”
Reita: We really wanted to try something new and unknown!
Kai: We want to lift the veil of secrecy over those who are the GazettE really.
Q: What can you say about the concept of the new single UNDYING? Why it plays the role THE FINALE in the project?
Ruki: DOGMA, UGLY и UNDYING – parts of a story. UNDYING will be its end.
Aoi: Ruki will answer this question better.
Kai: Ask Ruki.
Q: What are you going to do after PROJECT: DARK AGE, how are you going to outperform it?
Ruki: After the tour DOGMATIC we’ll put PROJECT: DARK AGE on the shelf and begin work on a new project.
Aoi: PROJECT:DARK AGE – is DOGMA, UGLY и UNDYING, related to them arts and tours. No matter with whom we will work on, I’m sure they will be great professionals.
Reita: We don’t yet know the answer to this question.
Q: Your last album DOGMA contains a very powerful message: to abandon the imposed standards of other people - from another’s dogmas - and create your own. What made you as a band to reflect on this theme?
Ruki: When we recorded DOGMA, we wanted to understand, how in fact it all should be, what should be our own position as a musical group. This is - a kind of our constant philosophy.
Uruha: We came to this during our fan club tour in 2014. I mean not only the group, but also our fans. We all watched the GazettE for a whole year, and DOGMA is the result of these observations.
Aoi: the GazettE have always used a variety of different methods to invest an additional meaning in our music. Despite the fact that visual kei still remains a limited direction in Japan, it still attracts a lot of young musicians, which are in a friendly competition with each other. In order not to get lost in all of this, we have decided to clearly define our vision and our line.
Reita: We wanted to determine the extent with which you should measure us.
Kai: This is what makes us the band.
Q: Fans wanted the GazettE to return to DIM style, but DOGMA turned out to be much more heavy. Can we say that you have recorded such a powerful and strong album, partly in response to requests by your fans?
Ruki: If we did everything that the fans want, we as a group a long time ago would have disbanded. And DIM, and DOGMA - different sides of the GazettE.
Uruha: Each of our albums has its own style. We try to give everything to the maximum, act by trial and error, guided by our musical preferences and abilities. We simply can’t repeat what we did in the past, since it no longer exists.
Aoi: No, not like this. If for example the theater troupe from year to year has performed with the same musical, would the audience go to the show? The same is true for music groups: even if we have found one successful style it is better to try new ideas.
Reita: The answer is contained in DOGMA.
Kai: This is not true. We just constantly examine our capabilities and potential.
Q: In TOXIC, DIVISION and Beautiful Deformity you actively experimented with electronic music and effects and successfully put them on your own sound. How do these three albums have influenced the work on DOGMA?
Ruki: If we talk about musical genres, we do not have any clear role models. We just wanted to express in these three albums some other things [than in DOGMA].
Uruha: Joined dubstep and electronics with our classic style, we understood how a variety of musical genres can be combined with each other. However, in order that the final product sounded hard enough, we had to change the concept of the group style. We had to face a lot of difficulties, but it seems to me that we have learned to better assess the quality of our sound.
Aoi: While working on DOGMA we, among other things, wanted to get away from the EDM elements and to create a more authentic sound. We wanted to pay homage to our visual-kei past and show that we move forward.
Reita: All these albums brought to DOGMA.
Q: Do you consider this darker sound your true sound, or this is another musical experiment?
Ruki: I would not say that it’s entirely gloomy. It is one of the aspects of us as a musical group. We like and pop, and ballads, so in the future we are not going to abandon them.
Uruha: Personally, I love the gloomy sound mostly, so I’d be happy, if others will appreciate us precisely for this sound.
Aoi: Although DOGMA was enough hard for us, we initially inclined to a more gloomy sound. the GazettE always preferred free style of creating the songs and this won’t change. Our own style is known only to us, so expect surprises in future releases.
Reita: This is an experiment and the true face of the band.
Kai: We always experiment.
Q: DOGMA style is unique, but at the same time you have used enough traditional elements in such songs as INCUBUS, LUCY and GODDESS. Do you intend to include such a dark and heavy themes in your future releases?
Ruki: We’re not going to repeat. We plan to try a new approach.
Uruha: I think if we haven’t a reason to abandon these themes we will continue to refer to them.
Aoi: One of the most remarkable aspects of the playing in the band - it is an opportunity to exchange ideas with each other, to discuss on what theme we will be working in the next release, what a color palette we will use. I want all five of us to create our future music, to discuss it and to make decisions together.
Reita: I think that we will continue to “be heavier”.
Kai: In the future, we intend to use such themes, that we deem the most appropriate for our music.
Q: All of your previous releases have been very successful. What are you planning for the next album? How are you going to outperform your previous work?
Ruki: Every time I try to produce such kind of music, which would have surpassed my previous compositions.
Uruha: I always think about how to make the next album.
Aoi: I hope to release this kind of music, which is different from what we do directly in this tour. Each tour - the ability to learn new things and prepare for the next step.
Reita: Decisions on the next album I will take during this tour.
Kai: We will build on your previous experience as the band, on all that we have experienced; we are talking not only about music but also about ourselves.
Q: Are you changed somehow, preparing for a show, putting on outfit, applying makeup, checking equipment and, at last, appearing on stage before the audience? Or you feel on stage in the same way as in ordinary life?
Uruha: Between “usual” me and “scene” me there is no difference.
Aoi: There is no particular difference.
Reita: It’s excite me! However, I stay myself.
Kai: I don’t feel something special.
Q: Do you hope to change something with this tour? Do you think that the social message and concept of your music can overcome cultural barriers and become more versatile?
Ruki: I just want more people to know our music. I believe that, as the western music gained popularity in Japan, so and Japanese music can be popular in other countries.
Uruha: I first of all want the audience to say to one another after the concert: “These Japanese, so great!” Therefore, I want as many people as possible to come to our lives.
Aoi: Since we go overseas, then I, of course, want to play a tour that will appeal to all. It’s not that we want international fame; our main wish - to make sure that everyone got the fun of the upcoming concerts. For me this is more than enough.
Reita: If our fans after the show say that they enjoyed it, I’ll be happy.
Kai: I would like to create the conditions that allow us at any time to go with the concerts abroad.
Q: In Japan, you’re famous as a group, which gives fantastic live performances. How would you describe the ambience of your Japanese performances for the American and European fans who have never been on your lives?
Ruki: I think it is aggressive, but not only. We do our best to ensure that the audience could appreciate melody component of our compositions.
Uruha: I can not give an objective answer to this question, so to start I would recommend to listen to the recording. And at lives we just will immersed in the music.
Aoi: In Japan, the audience perform all the movements simultaneously, and it looks absolutely amazing from the stage. Abroad, it seems to me, people more relax and have fun as they want. They sing, dance and shout. They do have fun!
Reita: Japanese show - a lot of energy.
Kai: Japanese concerts allow us to become one with the audience.
Q: Can you share the plans for the future?
Ruki: I would like to gradually expand our presence abroad. Basically, our activity is focused on Japan; if we succeed in our plans then we will decide what to do next.
Uruha: We first of all want to complete our project with GRAND FINALE. After that we will announce further actions in order of priority.
Aoi: More than a year passed since the launch of the project DOGMA. I want to get to the end of the project, without losing enthusiasm along the way, and give a terrific concert. Then, when DOGMA come to the end, we will switch to future plans!
Reita: We’ll make plans during the world tour.
Kai: It’s a secret.
translation from japanese to russian by Irina Medvedenko for vk_paradox
translation from russian to english by me
as always thx for reading and sorry for mistakes ^
Uruha: Why did you stop wearing your navel piercing?
Aoi: The skin there was getting thinner. It felt dangerous so I took it off.
Uruha: Then how about the jupon I gave you?
Aoi: I had worn it until that American Army’s jupon came. That’s the memorial present from Uruha, so I have kept it carefully.
Uruha: That’s great.
remember that time aoi complained that when uruha stayed over his house, uruha took his bed and made aoi sleep on the floor
and in the interview, when aoi talked about that, uruha was like “well, if the master of the house didn’t like me doing so, he should have told me at that point in time. otherwise i find it in my right to claim the bed”
You know Uruha saying he was happy with the welcome at the airports during the world tour made me happy because I know sometimes fans in Latin America can get a little too excited and I know they're tired after the flight but, it's nice that even though it freaked them out at first and they don't want pictures taken lol (which I can understand) that they were a little happy to see them there. This is from the R&R interview with Uruha so super late lol but, I like your side notes they're so funny
LOL thank you for reading!!! I’m glad they like us crazy overseas hoes :’)
Uruha’s interview for ROCK AND READ #067 [part one]
RR: What are your impressions of the world tour, which took place from April to June of this year?
Uruha: Although this tour have become our third overseas, this time we went there with the aim radically different from previous ones. If in the past we went to show ourselves, now we have had a clear intention to bring the album DOGMA and make a live on its basis. If to discourse about DOGMA, we were interested to what extent amplitudinous can become this creation. We began to talk about the possibility of a trip abroad. And somehow it has turned out a challenge to ourselves. If fans, knowing the creativity of our group, don’t come to lives with our new songs, it will mean that we don’t move forward, don’t develop.
RR: Your world tour began with Central and South America.
Uruha: The inhabitants of this part of the world are still hot (laughs). No one knows how to arrange such a greate reception at the airport, as they do. Needless to say, that we were warmly greeted and in other countries, but not so widescale. However, that relates directly to the concerts, people in all countries had blast equally crazy. One feels that they come to enjoy what is happening on a stage with every cell of their hearts. And when this impulse comes to us, it gives us the strength to break out of our capability and to play according to this. This time we again made sure that only our energy is not enough to create such a great show.
RR: All artists, who were abroad, say the same. If to think with this point of view, then, as compared to a foreign audience, Japanese behave in a more “grown-up”. Therefore, during performances abroad Japanese bands always face with a fairly stringent conditions.
Uruha: Yes. When we played live in Toyosu Pit immediately after return from the world tour, we were insanely surprised. “How quiet is here!”, we thought then (laughs). This doesn’t mean that Japanese fans are not hot. But Japanese lives are somewhat similar to a movie theater. While the smoke fills the stage, everyone listens attentively to the entry. Abroad, no one pays much attention to it. All the time shouts “The GazettE!” resound, and the hall is full of the stamping of feet. In South America this ambience reminded us even a little fan’s behavior at football matches. Something like “Ole Ole!” (laughs). Intro before the performance just starts to sound, and foreign fans already shout down the melody, and it’s kind of like calling us to go up on the stage. And this, in turn, acts on us like a magnet.
RR: All this proves once again that live - is something that the audience and the artist create together… Well, after Central and South America the first time you went to North America.
Uruha: It is believed that the situation in the US is more complicated. Even if you are quite popular in Japan and has achieved some success here, the public don’t accept it so simple there. We constantly heard about it, and therefore we included the North America in the tour as a challenge to ourselves. In addition, they constantly said that even if to act in the States - on a small area. A bit harsh, isn’t it? Also there were conversations that in order to your name has become recognizable in the United States, you need to become close to the local organizer and play there at some fest. The fact is that if you don’t have some own know-how, and you just come to play the public wouldn’t accept you, and everything will be in vain. As a result, it’s easier to leave it.
RR: I heard that in the United States beginning musicians perform the opening act for more famous colleagues for the years, and only then their career gradually begins grow.
Uruha: I agree. On this tour we played in concert halls with a capacity of 1000-2000 people. We asked ourselves: and whether we will be able to fill them? From the outset, our stuff said, that even 500 people will be a problem, but 2000 at once… We worried whether it would be all right. And abroad, you can change a large concert hall on the smaller size,if suddenly tickets sold poorly (what is impossible in Japan). However, the local organizer has assured us that everything will be fine, and he booked a large club. Once we arrived at the airport, we realized that we didn’t meet fans crowd. How, then, we will collect so many people? And when we did it, were pleasantly surprised.
RR: It’s a good news.How did you like the concert in the United States?
Uruha: We had a lot of fun! The audience kept chanting “The GazettE!” all the time, and it was very hot throughout all the live. We absolutely hadn’t a sense that we play here for the first time. The fact is that America - a great place for entertaining. For example, the make-up rooms are always spacious, and some clubs even have basketball courts on the territory, trainers and machines for popcorn. Insanely fun. I’ve been playing games up to the appearance on the stage. So, during all the day of american live you just have a good time (laughs). The rooms also have LCD displays with excellent sound. First live was in Dallas Bomb Factory. It is a huge place with a concrete floor. It is not a suitable option for a performance, right? But there was a surprisingly high-quality acoustics. Although the sound was trembling, but it was tough enough. All this together has made a good impression.
RR: I believe that, having gone to America and having gone this hard way, you got a significant experience.
Uruha: It’s true. Whatever to take - climate, tradition or fun - there is a lot of difference from Japan. And not only a musician, anyone, getting this ambience, will understand what I mean. Personally, I liked Dallas.
RR: It’s great, when, and the ambience is good, and the live is exciting. This time you brought a lot of equipment?
Uruha: We reduced the amount of equipment to the necessary minimum. We used the offices of various companies; have leased them, applying digital processors as a guitar amplifier, which are also responsible for all of our effects. Respectively, to create a guitar sound it was enough to take only the processors and a laptop computer for their settings. But in order for the sound, which we originally wanted to achieve on the tour, the old version could be not enough. Therefore, there were difficulties, which took a lot of time to solve them. However, after we solved all system issues during live tours within the country.
RR: You already the third time travel abroad on tour. Giving a concert abroad - is this for you a ordinary thing or yet there is something special?
Uruha: Not very special. For me, such a trip more akin to a certain practice austerities (*a spiritual practice, assuming austerity and self-restraint). When you spend a world tour, you really plunge into the different sorts of an ambience, faced with various difficulties. Just the flights can be maddening! But such experiences temper you and your psyche. And also expands the horizons of your vision of what a concert can be. You seemed to absorb something what you never would meet in your home country. And, even though I now depart from the topic of conversation, but personally I’d love to go abroad more often.
RR: But if you did all your best in the world tour, would you have strength to play lives in Japan?
Uruha: Travels are a little exhausting physically. In South America, there was no air conditioning, and the live turned in a solid hell. Stage equipment was also different from japanese. If we play on a Japanese stage, we have a special system of bottom blowing air. And there it was installed, but such poor quality, that I wanted to ask: “It blows?” (laughs). And I also was injured during a Brazilian live. Among the various stage equipment there is, for example, a small podium (on which the musicians usually stand on during performances). And I asked such one. But the one that was given to me, was not completely fixed. Not knowing this, during of execution AGONY on encore, playing on the guitar, I jumped on it. As a rule, I never jumps on these things, but this time the energy from the audience was so mad, that I succumbed to it. So at that moment the stand overturned, and I hit my shin on the near corner. At that moment I didn’t feel great pain. I was more ashamed (laughs). But when I returned to the dressing room after the live, the leg became unbearable ache. The outfit at the site of impact, as it turned out, was torn, and the right leg was all in blood. The wound was deep enough. We even had to ask for help from a doctor of the club. He made me to drink two large tablets. Oh, those Brazilian drug (laughs). They are so potent, that when you drink them, you still feel sick for a while. Even you can’t drink beer (laughs).
RR: Foreign drugs have a very strong effect!
Uruha: Yes, they have. I have, by the way, the scar still. And also it was very hard in Taiwan and China, where there is high humidity. In Central and South America, as well as in the North, the air is dry, so it’s much easier tolerated. Well, except directly air at a concert, of course (laughs). And only in Taiwan we’ve got a classical concert hall for the performance. Audience seats seemed like went up, and the view from the stage was wonderful, that, in turn, a little unusual. Well, a real concert hall. Before, all the time we played in live houses, and here a completely different ambience. But we have been able to profit from it and play a great live. Also in Taiwan was a lot of cosplayers. And it was not even the GazettE cosplayers, but something seemed to be more on Lolita and anime characters. There were even cosplayers of other bands. In general, there was everything you want (laughs).
translation from japanese to russian by zhukovskayaliza.vk for vk_paradox
translation from russian to english by me
as always thx for reading and sorry for mistakes ^^
Kai: “I first discovered the GazettE when I was in middle school. When I first saw Uruha, I thought, ‘they’re totally tryna sell this guy as a narcissistic fuckboy kinda character!’”
Kai: “But then, when I saw the Nippon Budokan documentary DVD, his character was completely different than what I had expected. Later on, when I was searching online, I found his blog and saw that he was writing such serious stuff, and watching him live, it was just one surprise after another. Now I love Uruha, I think he’s so cute. If Uruha has ever surprised you two with something unexpected, I’d love for you to tell us!”
Aoi: Hmmm, something unexpected…?
Kai: Pretty much all he ever does is unexpected stuff tho
Aoi: Oh really?
Kai: Well, I think so.
Kai: Like his opinions on stuff, like……sometimes I’m like “oh, I see,” but some of them are like, “oh you went there?” …Like he’ll say something really cool, or like…“oh, you actually pay attention to that?”
Aoi: Ahhh….well, yeah, I guess so.
Kai: Yeah, so I think he’s a pretty unpredictable person, but…
Aoi: Ah, I see. But I don’t really get how he would come off as a narcissist.
Kai: Yeah, right?
Aoi: When you read stuff too, it’s like, “damn, he’s so cool~”
Kai: (laughs) About Uruha? Like interviews and stuff?
Aoi: Yeah yeah yeah yeah
Kai: Yeah for sure….a fuckboy tho, eh? For real? I’ll have to let Uruha know. (laughs) Like, “people think this about you.”
Kai: But for real, he’s a really reliable person. I’m always relying on him.