Arena 37c, October 2005, Part 1
Original Text by: 小野緑
Translated by: Sweiled
1. Please DO NOT
take my translations and use them for whatever reason, without my permission.
2. Please DO NOT publish my translations elsewhere without my
permission. Please kindly link back if you want, but DO NOT copy and paste
them.
[number] = more explanation of the sentence below
xxx = more detailed explanations
[xxx] = what I felt a certain part of the sentence meant
(xxx) = other meanings of the word or literal translations or missing word/words
not specifically mentioned. For e.g. The fans screamed when (Gackt and his
band members) entered the stadium! Read it like you will a normal sentence.
=xxx= = real brackets used in the interview
It has been six months since Gackt’s last photo shoot and interview. We did
interview him periodically based on the timing of the consecutive releases
of “ありたけの愛で”
(Arittake no Ai de); “Love Letter” album; “BLACK STONE”; and “Metamorphoze
～メタモルフォーゼ～”
since the beginning of the year. Which is why for this sudden break, yes,
to say that it felt like the loneliness of a long-distance love relationship
won’t be too far-fetched indeed.
[1] He was covered in many articles from the period between Arittake no
Ai de (Feb 26) and Metamorphoze (May 25), then there was a long break until
the release of “DIABOLOS” on Sept 21. Though “Todokanai Ai to Shitteita noni,
Osaekirezuni Aishitsuduketa…” single was released on Aug 10, only Oricon Style
had him on their cover.
Of course, we know that Gackt is immersed in the production of the next album.
Gackt had mentioned in the (previous) interview that the singles released
after “Love Letter” had already been recorded based on the concept of the
next album. Then, there is the matter of the title of the album, “DIABOLOS”,
which carries the meaning of devil in Latin. And somehow, as the materials
given by the record company show us, the album is related to the world of
“MOON” that was presented to us over the period from the year 2001 to the
year 2003.
Wasn’t “MOON” concluded with the release of the “Crescent” album? What’s the
link between this album which carries the meaning of “devil” and the deeply
sad story of a group of men as seen in “MOON CHILD”, the movie with a vampire
theme and with the near future set as the stage? Leaving behind (lit. scatter)
only hints, Gackt secluded himself completely in the studio. The only song
we received that was not released as singles and which would be included in
the album was “Future”.
And at last, we meet again!
“It’s been a while~! Was it half a year ago? Time sure flies (laughs)”
You find Gackt’s usual self in the studio. No, usual… not quite right to say
that. Because of the hairstyle, you see. His hair which is usually let loose
and (styled) with mousse or hair wax is now braided tightly and neatly gathered.
It’s a completely new image. When asked if this hairstyle has any meaning
to it, Gackt answered with a secretive smile.
“Ahahahaha, suitable? (laughs) This is made based on the hairstyle of one
of the characters in this story. I was thinking of coming up with the tribal
part. It’s totally not suitable for normal clothing though, I’ve been told
that it’s scary. (laughs) But it will suit this world view on the stage. Though
it’s still rather short now, we will add extensions to it for the stage.”
[1]
[1] He said, “it becomes longer,” but writing it that way sounds weird,
so I changed it to add/put extensions instead.
Yes, that’s right. He himself already became a part of the world of “DIABOLOS”.
And next, the interview. We’ll connect his words one by one from the scattered
hints that Gackt tossed at us, and his grand visions (lit. dreams) and this
story which goes beyond our imagination shall be made clear here……
The
vampire legend which dates back to A.D 700 and broken down into four chapters.
I: What we are most curious about is the reopening of the world of “MOON”
with this album, “DIABOLOS”. Why is it back to “MOON” again?
G: Well, the story of “MOON” itself is basically very long. It’s separated
into four chapters altogether. Actually, the concept shown through “Kagen
no Tsuki” and “Jyougen no Tsuki” tours was from chapter four, and the first,
second, and third chapters before that has not been shown yet. And the tour
this time, “DIABOLOS ~哀婉の詩~”,
is right in between the second and third chapters.
I: I see! Because it’s like episode 1 of “Star Wars”, the story moves backward!
I did wonder why they were vampires after watching “MOON CHILD”.
G: And this time the story is from the year 1600 if you look at the western
calendar of the story. The whole story starts from the year 700.
I: Even the time period is known clearly! The background would have been
set up in Gackt-san’s mind (too), right?
G: From the year 700 to 1300 is the first chapter; 1300 to 1600 is the second;
and 1600 to the current time is the third one. Then, from the current time
to the near future is the fourth chapter, and that was the one I did under
the previous “MOON” theme.
I: I see, I understand at last.
G: This time, “DIABOLOS” takes place in the interval between the second and
third chapters, and the main focus is on the origin of vampires. So the characters
are not yet called vampires at this point. And now I’m going to go back to
the reason why I’m so particular about vampires, is that okay?
I: That is what we would like to hear most too.
G: What I want to express most is “human”. The evil that exists in human,
the existence of human, etc. I want to draw that part of human. But I think
that’s something very vague [1], and the more direct you try to express it,
the harder it becomes to convey. That’s why it becomes like a mirror, the
way we look at human through this race called vampires. That is what I think.
It’s like we can see humans clearly by creating (lit. draw) these vampires……
This clan called vampires, though they are similar to humans in appearance,
they exist as a different species. And while humans fear “death” and lives
rejecting that, this vampire group, on the other hand, longs for it. Because
they are not able to die. In that sense, I think it’s easy to turn it into
a reflection of humans. I find such a way of expression easy to convey for
me. It’s definitely not because I wanted to present vampires, but because
this way of expressing humans through vampires makes it easy to understand
and can also be conveyed without difficulty. Moreover, their existence is
fleeting, intense, and sad [2] and such a story is easy to tell. In terms
of expressing it through music and on stage, it’s very easy to present to
the audience.
[1] This phrase appears often in the article. doro doro is the informal
term for something that is gooey or muddy, or something that is confusing.
Consider the abstract concept of "muddiness". It’s also used to
imply that someone is not getting along with someone else. Thanks gekka_no_neko!!
[2] はかない
hakanai: fleeting; transient; short-lived; momentary; vain; fickle; miserable;
empty; ephemeral
激しい
hageshii: violent; vehement; intense; furious; tempestuous
切ない
setsunai: painful; trying; oppressive; suffocating
I: The ones watching can also get into the world of the story easily. By
the way, the vampires are from a clan?
G: In this story, the vampires were something that was created. It’s a clan
created unnaturally and the origin of it all is shown here in this story.
But that’s not something you express fully in music; and that’s why I think
you’ll be able to see it in a movie, or a novel, or a game form in a later
phase.
I: Though it’s not Osamu Tezuka’s “Phoenix” [1], the story of how humans
seek immortality is a philosophical theme, isn’t it?
[1] Osamu Tezuka is said by many to be the founder of anime. If you want
to read more about him, here are some websites http://routt.net/Gelfling/manga/tezuka.html
and http://en.wikipedia.org/wiki/Osamu_Tezuka. More on the “Phoenix” story
itself here: http://en.wikipedia.org/wiki/Phoenix_%28manga%29.
G: Humans who see immortality and vampires who seek a peaceful death are extreme
opposites, are they not? The humans who seek immortality think that being
able to live forever is a wonderful thing. But the vampires know how painful
such an existence is. It’s an interesting theme because you get to present
both sides, of the pain of not obtaining it, and of the pain of carrying it.
And because vampire is a well-known theme throughout the world, it can be
grasped easily.
I: This world has its own unique aesthetics as well.
G: In this story, this group that is the origin of vampires was created to
kill others. But that doesn’t mean they themselves pursue that life. Regardless,
they carry the destiny of having to live amidst such a conflict. They are
incomplete because they cannot stand under the sunlight; and they are both
hated and feared by humans. Who on earth are they created for? For what purpose
do they exist? They are a clan who live constantly amidst conflicts. And they
have to live while being pursued because they are a superior minority. Don’t
you think that resembles closely the minority in the present world? Those
who command great power represents justice (lit. becomes righteousness/justice),
but is it really so? Such a discussion, right? I think that’s not true. Because
justice is something you create, because justice is not something that (simply)
exists.
Creating
using a method that only I can use, that’s difficult……
I: But even though the songs are created under such a grand theme, each
song can be applied to different scenes separately. For example, even as tie-up
songs…… [1]
[1] Songs used in commercials; soundtracks for dramas, animations; etc.
G: Of course! That’s because I have no intention of making songs which you
can’t understand unless I explain the story. That is what I always find difficult
when making songs. Because there is no meaning to it if you do not feel that
the song is independent from the others, even when you listen to them separately.
That’s the basic problem. And after clearing that, how the story flows when
you arrange the songs as an album is another point. If you don’t consider
that at the same time, it won’t work. It’s difficult. (laughs)
I: That’s right, because you don’t think so far normally. (laughs)
G: Yes, it’s difficult. As your work, you can create each song separately
(lit. independently), right? Because it’s better that way. But for me, (I
would consider), “What’s the method that only I can use?” and that’s how it
became this way.
I: That’s because nobody (else) creates a single by taking it from the
concept of the album. Especially “Metamorphoze” which became the theme song
for “Zガンダム”
(ZGundam). On top of Gackt’s own story, the story of “Zガンダム”
is also entwined in it.
G: In cases of tie-ups, I’ll definitely say this to the producers. If there
is something in common between the themes of my own work (and yours) and if
it corresponds with each other, I’ll present that for sure. So the author
of “Zガンダム”,
Tomino-san, understands that as well. If you look at the song in its own entirety,
why are we here at this point? For what reasons do we fight? That’s the theme
of “Metamorphoze”. Like the conflicts faced by the vampires that I mentioned
earlier on, the characters in “Zガンダム”
also possess such thoughts, don’t they? That’s because that part corresponds
with each other. Even if you did not create (the songs specially) for it,
as long as we have a common theme, we’ll be able to push the imagination of
the viewer. That’s what I think.
The
songs for the next album after this one were actually completed first
I: But recording is taking a very long time this time.
G: Regarding the songs you have not heard this time, it’s taking such a long
time because we have to correct over and over again the method we used to
create the music. What you call our specialty and the new (methods) we used
are jumbled together in this album. It’s not that we changed it into something
totally new, but we are adding new elements to it progressively, using my
music as the base. If there is a genre that this final form that we are creating
falls under, I think it will probably be “New Mixture Rock”. But we are having
a difficult time establishing that. For example, the method we used for songs
like “Ash” is basically continued from the previous album. “Metamorphoze”
as well, we had already begun the recordings for that in the middle of the
production of “Crescent”. So those parts, the ones which were continued from
previous albums and the newer ones which we are looking for in this album,
are different. But they are mixed together. We were able to complete the ones
which we continued from the previous work earlier, but we had to redo it over
and over again when adding the new elements into it and that took a very long
time. I feel really bad about that.
I: No, that’s okay because you don’t make songs to fit (the timing of)
interviews. What matters most is making it in time for the release date. (laughs)
G: Of course! I’ll make it in time for the release date. (laughs) And most
might think that this name called Gackt is my solo name, but I look at Gackt
as the overall project name. That is why we have the name GacktJob. We’ve
also been looking at the composition of not just this album alone, but the
next one as well while recording this. So during the recording, we did the
songs that will be included in the next album (after “DIABOLOS”) first. I
think (the staff) will be able to understand better the directions we are
supposed to move towards if I let them listen to those songs first. Because
that was completed first. (laughs)
I: Why is it……?
G: Well, it’s the order of recording. (laughs) It’s in their convenience……
[1] (laughs) Actually, those songs are more complete, and normally, they would
have been released (already). But (I didn’t) because the songs are not meant
for this album, but for the next one instead.
[1] Literally it means “adult’s convenience”, something like the convenience
of those who have the power and authority, which in this case will be the
record company. It’s in the record company’s convenience that Gackt do the
songs to be released first instead of recording songs meant for the next album.
I: Didn’t the record company ask you to do the songs for this album first?
(laughs)
G: Well…… (laughs) But in order to create that world view (of “DIABOLOS”),
we have to do the next one first. That is why it is important to us. But the
record company can only look at what’s in front of their eyes. That is where
the difference lies. Because for sure, our music will not be good if we don’t
do it this way. So we do it because it’s necessary. I think they manage to
understand that letting them hear the songs for the next few singles first
is the fastest way to complete the production of this album. Just that we
won’t be including those songs in this album. (laughs)
I: Could it be! (laughs) [1]
[1] I think the interviewer is joking, saying that maybe those songs aren’t
included in this album because it’s not good enough or ready yet. Something
like, “Could it be that it’s not included because…!?”
G: They are great! Really good! (laughs)
I Ah, I see! (laughs)
G: Even I myself was surprised. “Amazing!” I thought. I was surprised. They
are awesome.
I: But we can’t listen to it yet.
G: Hmmm, around half a year to eight months later as singles…… maybe. (laughs)
If we don’t at least have such a plan ready in our mind, we’ll lose the diversity
(lit. spread, span) of our own music. You will only be able to look at what’s
in front of you and it will only become a work you do because you are at your
wit’s end. There is no meaning in doing that. I really want to do something
that has a meaning to it, and not just (produce) a work you can digest easily.
I think the songs that you’ve not heard, which will be included in this album,
will turn out to be pretty interesting. It’s a new (method), and I think there
is no doubt that I’m the only one in Japan who can create such music. Not
because of the (mention of) human’s confusing part and its theme, or that
even the way it is expressed is ambiguous, not those, but the way I always
present it as something beautiful, intense, and fleeting…… Such a balance
is the reason why I am “the only one”. That’s what I think.
In
order to set the destination, one can look at the history (lit. archaeological
way of thinking)
I: But while there is the you who is analyzing these things for a long
period of time, there is also the you who lives day by day in real time. [1]
Does a time lag arise between these two sides? Between the one who is moving
on, and the one who is pondering over a long period of time.
[1] Erm, allow me to explain. ^^;; Basically the difference is in the Gackt
who spends hours and days over this work and who lives in the world of the
story, versus the Gackt who lives in real time. Between the one who is stuck
in one time frame, and the one who is“living” and “evolving”.
G: Of course I think that happens. There are times when it really happened
too. But if you don’t set the target and the direction first, you won’t be
able to move, right? In short, you won’t be able to visualize the process
without determining the (targeted) result. But there are also many things
you’ll find while you are doing it. The target is set. But while you are walking
towards that target, along with the new emotions and sense you acquired along
the way, there is a possibility that you’ll change destination, and the way
you progress. There is such a way of thinking as well, right? And in my case,
that’s definitely not a “NO”.
I: Well, the theme you carry is not (related to any specific) time period
or anything like that, but it’s the universal theme of human’s true nature,
so it’s not something that can be swayed easily.
G: That’s true. It’s not like I sing about (a particular) time. So for me,
the way my mind works is rather similar to an archaeologist’s. There are people
who say that there is no point in looking back into the past, but by doing
that, we can understand the folly of our (own actions). And we will know the
road we need to take from this point on. I think the people who can only look
at the things in front are the ones who cannot see their future clearly. It’s
exactly because we saw the past that we can feel the future. But that’s definitely
not moving backwards; it’s understanding the true nature of human and thinking
of the future clearly. Because you see, our history is a history of sins,
is it not? Maybe it’s creative creation, but that’s also a history of destruction.
History of massacre keeps repeating itself. That’s a truth you cannot deny.
I: There are developments in technology precisely because there are wars.
G: Exactly! But is it really moving towards the right direction or not? If
we don’t study the past, we’ll move towards the wrong direction.
I: Seems like it includes a real message inside.
G: That is why the things I want to express are hidden (lit. vague; unclear).
But if I express it directly, it will carry too much of a sense of reality,
and it won’t reach people’s hearts. Because nobody wants to be told that.
So expressing that through some sort of story makes it much easier to understand.
My works are created in such a way. Maybe it’s rather similar to the way a
movie conveys (its theme). So all in all, it may not be something you can
understand immediately; our existence and philosophical themes are included
as well. But I think with the passing of time, you’ll be able to feel it somehow
and understand it. Listen to each song separately and you will be able to
merge your feelings at that time with your own self. A difference will arise
between what you feel in “real time” and what you feel slightly later after
some time has passed. That is what I would like to convey. Not like a magazine
(which is published) timely, but something like a novel which can stay in
people’s hearts. I do it with such thoughts in mind.
The
stage this time is awesome!
I: From what age did you start wanting to express human nature through
music?
G: I think it was when I was around 20 years old, around the time I started
playing in bands. It was also during this time that I started thinking about
playing in Asia, from the time I began to want to let others know that I am
Asian.
I: You made the ballad album, “Love Letter”, after “Crescent”. How do you
feel doing that has helped you in this album?
G: The theme of “Love Letter”, which was making songs using simple sounds,
was like a homework of sorts to us. Like a task. It’s not just randomly mixing
sounds, but I think it was a work which reminds (lit. look back) us of the
importance of melodies. While doing the work of “Crescent”, there was a worry
that our music will become fixed to this (style). If we move on to the next
work right away, there is a fear that it will have the same flow as that album.
That is why we put it aside for the time being (lit. once) and tried something
new. And because of that, the desire to mix sounds again grew stronger. If
there is no want, one will get used to (the way things are). I think what
I feared most was that my companion and family, who are doing this with me,
will start to relax if we continue using the same methods. That’s because
if you can’t feel a certain degree of stress, you’ll definitely not be able
to create something new. I think there is a great meaning in making ourselves
do this stressful work as a task. And I think this album will come out great
as a result of that.
I: Gackt-san yourself too, it’s as if your voice carries a persuasive power
now, as the result of you pushing yourself as a vocalist.
G: That’s right. I think the vocal for songs like “Future” was very good.
I: The tour will finally start in September, looks like it’s going to be
impressive this time.
G: Yes, it’s going to be awesome!
I: I can’t wait to watch it!
G: But it’s really terrible this time. We went completely over the budget.
I: That always happens though (laughs)
G: But it’s really horrible this time! Expenses are way too high. There might
be people who think they can make profits by holding tours, but there is no
such thing at all! It’s always over the budget and the numbers are in red.
(bitter laugh) But I want to make something that leaves behind a form, something
that remains in your memory. I’m definitely not trying to make profits because
I believe you can recover the losses from elsewhere. To gain back profits
from something else other than music, and to focus on music. We pursue the
entertainment part in music as a work and that’s why we can do crazy stages.
It’s difficult though.
I: Gackt-san yourself has recording to do and you still have to think of
the layout of the tour. Isn’t it hard?
G: ……Yes……Hard…… (laughs)
I What is the highlight of the concert this time?
G: I’m not going to tell you that! (laughs) But it’s really great. You’ll
be surprised even from the opening itself. Look forward to it!