Shoxx 234 - Ruki interview part 2

RUKI INTERVIEW
Beautiful Murky 
Part 2

Interviewer:  Going back in the past, still almost 30 years ago, the fusion of digital and human sound (made by humans) came in different forms even in the folk music inside and outside the country. So the GazettE, now as a band, what is trying to do is probably a radically original dimension, isn't it?

Ruki: At least for what I know it that there aren't lot of bands which do this kind of sound anymore. If we talk about the past, wasn't there digital rock? Well it's different from that one too. As phantom sound source [1] a violent rock part is not necessary, I want to go to a point where the sound quality is excellent and definitely clear. I'd like to add a part of low in that type of sound that seems poor to me.

Interviewer: You are the type of person who craves for a lot of things, isn't it, Ruki-kun? *laugh*

Ruki: If I have to say it in a more comprehensible way, let's say it would be easier to take the image of The Suicide Circus and exaggerate it. If I have to compare them, I feel like The Suicide Circus is moderate.

Interviewer: That seems fantastic!

Ruki: A while ago, when we released Filth in the Beauty, didn't everyone wandered "Eh?? Who are they?" if I have to say it, there will be something like "who are they??" this time too. *laugh*

Interviewer: We said something like that last month with Kai too, but in that period opinions with pros and cons came up, didn't they?

Ruki: Yes, they did.

Interviewer: Talking about Filth in the Beauty, there was a one-man tour, but you grow the killer tune organizing events too. If we base on that facts, we can foresee that what the GazettE are trying to do now is basically is to convince everyone.

Ruki: Because we don't go off course. Both for Filth in the Beauty -in which we added some R&B- and for this time we went in an double direction, we are a band that anyway doesn't go off course. However, it was a hard-and-fast rule in my case not to use that element if not as sound effect. Even if the pillar is the sound of the band, I want you to be prepared because I included enough of other elements until the limit point. Of course, I'll make sure that the result will be "that! it's good!!" *laugh*.

Interviewer: You are really self-confident, that's extraordinary!

Ruki: What shall I say? If the other members wouldn't stop me, there was the possibility that I could goo too far. I'm really like that.

Interviewer: Speaking of which, if collisions happen, who is the person in charge of being the keeper?

Ruki: Ah, no one in particular, we all are. Most of the time the fact that the band said "That's enough!" was that I wanted to exceed etc. *bitter laugh* in these moments the others do me the favor to stop me. The coexistence of that sound which I think is good with the sound of the band is really hard.

Interviewer: So, from the point of view of sound quality research until now: for the creating process of track down (mixing), you went overseas; some member specialized in sound engineering and necessary things have been made. This time, speaking of the process, at which type of things did you gave importance to?

Ruki: The first thing was the good separation of the sound on all sides because it was important for the clearness of the sound to come out, then we gave lot importance to to the range extend. Through the creation of an empty space inside the sound I wanted to create a clear tridimensional effect. Mah, even if I say so and even if the registration phase is over I don't know yet. As long as the mixing part won't be finished, I don't even know why kind of sound came out.

Interviewer: That is to say that the work from now on could be the turning point, isn't it?

Ruki: Exactly, the recording is something related only to put together everyone's good recordings and that's it. The problem is from that point on. It's so difficult that it looks like headache will come too. *laugh*

Interviewer: During the recording phase, did it happened to you to give measures to other members or something similar?

Ruki: No, it didn't happen. Because from before, each member worked giving importance to his own taste and why of being. But as I said before, during the recording part, the sound is still transitional. From that point on, I tell in advance to other members that there is the possibly that new various sounds may be tested.

Interviewer: Good, now I'll ask you about vocal recording. Speaking of the role and position of the vocal track in this album, which kind of concept did you adopted to face them?

Ruki: The attitude doesn't change, it's always the same. However, from a methodic point of view if we classify it, let's say I followed an approach from two directions. But if I have to give a more detailed explanation, DIVISION became a full album attaching two mini albums with two different concepts. This is became the Limited Edition.

Interviewer: So what about the Regular Edition?

Ruki:  For the Regular we made a CD mixing all songs together. However, not only the the sound but only from a point of view of the lyrics and the way of singing, two colors mix together in this album.

Interviewer: This is only about DIVISION, isn't it? If we had to interpret it objectively speaking, it's right to think that as first thing the Gazette -just like in the past- conformed to course of action you cultivated and then everyone developed an aspect of the GazettE that became an essential point?

Ruki: More or less something like this. Maybe more than saying 'just like in the past' is if there's the possibly to perceive a feeling like nostalgia. Of course it doesn't mean we made something similar to the past on purpose. Speaking of shades, we can say that it has only that smell and that the things we are doing are absolutely "now" [2] Certainly, when you'll listen, if you have to say what is typical of the GazettE, I think you'll say "isn't this typical?" the melodic parts are a lot and speaking of tonality, blending them they are dark. Mah, the atmosphere is similar to STACKED RUBBISH or DIM.

Interviewer: I'm curious now!!

Ruki: Speaking of the order, this time we realized as first thing the "really typical part" [3] . From the beginning there was the craving for a comparison. Naturally I made the part that became unmistakably "typical", but now I've the feeling that even the things I wanted to do, I did them without obstacles. *laugh*

Interviewer: It was hard, wasn't it? Now let me ask you about something that interest you, that is to say: the cruel discussion of waiting till the end of August.

Ruki: Since there are still some things left to do, there will be time for the full accomplishment. But if you listen to it, I think you'll say "ah, so it's something like that!!" And who knows maybe you'll understand why the GazettE are like this when they split in two.

Interviewer: In the event that you split expressing both, when you interpret as solo vocalist, which was the essential thing?

Ruki: The atmosphere is different from the one of the past and the lyrics too. If we try to talk about it, I think that I sing generating resonances in that "typical" way. Here there are not only songs I wrote, but songs written by Uruha, Aoi and Kai. Well, so they were all busy and nervous too. *laugh*

Interviewer:  In a few words: the shout elements are strong.

Ruki: Even if, I've the feeling that they don't tend to scream.

Interviewer: You realized perfect passages.

Ruki: Even if I recently heard Screamo [4], I can't do it. I think that for the moment it's enough with songs like PSYCHOPATH. *laugh*

Interviewer: Your brave side is becoming insecure.

Ruki: Mah, We'll show the positivity that we design in that point.. even if things like lyrics are not positive at all.

Interviewer: They are not positive at all, does it mean they are negative?

Ruki: Exactly. Speaking of lyrics, the pillar was the shadow as always. Suppose the melodic part is the "darkest point of the shadow", the violent part would be the point of the shadow which points upwards. English lyrics are an important part and lots optimistic elements like in TOMORROW NEVER DIES were added. Moreover, the authentically sullen part is beautiful. The image of the songs with the melodic part is on the complex relatively calm, maybe it's better to say that it has sullen points.

Interviewer: That atmosphere and darkness.. it seem there are points in common with the lyrics of Chijou somehow.

Ruki: Ah, of course there could be a connection with Chijou. When I try to represent beautiful things I think about, I tend to go to that direction. Even if I think that if someone could see what I think it's beautiful, he will say something like "does this guy have some kind of problems?". *bitter laugh*

Interviewer: There aren't problems! Speaking of first sight, I think you could say it can be grotesque, as much as they could be distorted, the GazettE's works are always full of aesthetic taste. This is something that listener should know well.

Ruki: Considering that meaning, in DIVISION too there's the typical aesthetic taste of the GazettE. It was hard completing the lyrics, but it was really worth it writing them in the end.

Interviewer: You used lot of time for lyrics, is there a reason?

Ruki: No, more than using lot of time for lyrics, we had lot to do during the oke composition [5]. It's just that we couldn't reach it.

Interviewer: Ah it's like that? Giving lot of importance to the smallest details of the sound is typical of you.

Ruki: It was something that I really cared to do. But it was extremely funny doing and caring about different things. Naturally, there are annoying moments too. When we are creating the sound, we are focused to the full.

Interviewer: During the recording we are extremely focus, aren't there situations in which you are full full [6]??

Ruki: No, we are always full full. Not only for the album, for example even for 3 song singles, if we don't push to the hardest, we wouldn't be able to do things right.

Interviewer: In that case it is hard both for the body and mind, which measures do you take?

Ruki: In these cases, I sleep for a while.

Interviewer: Doesn't it ever happen to you to push yourself too much?

Ruki: Recently, I realized something: pushing too much without sleeping because it looked like there wasn't enough time, things turn out worst in the end.

Interviewer: I agree with you.

Ruki: Because generally when you are too tired, your mind doesn't work well. In this kind of situation -since it's pointless keep pushing- as first thing I 'reset' sleeping and the next day I do my best once again. Mah, if you keep going on, in this way you reach your limit fast. *laugh* The important thing is to do everything with moderation. Without hesitate, I go and watch a movie to distract myself.. I do things like that sometimes.

Interviewer: Ruki-kun, can you handle well the passage from off and on [7]?

Ruki: Not at all. It happens that I'm resting when I should work. It happened this time too while I was writing lyrics, like a student, I collapsed on the desk and fell asleep.

Interviewer: You create a new work putting heart and soul and wearing your body and mind off till that point. In that phase, which do you think are the sides you managed to mature through the creation of DIVISION?

Ruki: As vocalist, the thing that I give more importance even to the shades of every word? There were songs in which I changed the keyword during the recording, spending even 30 minutes fo express just one phrase, one word.

Interviewer: Despite that, the fact of having a band that supports you is reassuring, isn't it?

Ruki: Because in the end they said: "if a thing is good, it's ok like that." If it become a good work, it's better to think to the following things afterwards. They said "there's not this song, phrase but it doesn't matter, it's better if we fix it later."

Interviewer: Talking about this before listening to the album may look strange, but for songs in which there's not pauses during the live, what will you do?

Ruki: Mah, live is live. I want the quality in the CD, but since I thought about the fact of reproducing it exactly how it is, after we're done with the album and we start with tour preparations, we'll think about that.

Interviewer: Then, they say that phase in which you examine themes in details and the mixing part is even before the phase of artwork creation. From this side Ruki, you try maximum advantage from your artistic sensibility, isn't it like that?

Ruki: Both for jacket and booklet, we are creating a different image for the two CDs of the Limited Edition. Speaking of the content, we are introducing a different image for each song.

Interviewer: Does it mean that it was created a clip that shows -in a more comprehensible way- all the sides?

Ruki: Not only that, we'll include images which will connect both worlds of the two sides. If I have to explain it in words: it was put to work in the form of SE and images. Even the passage from the analogical to the digital world.

Interviewer: It's terribly demanding, isn't it?

Ruki: For this reason the price of the Limited Edition is high. A pretty penny is needed… but if you can, I want you to by the Limited Edition and listen to it. In the Regular Edition, in order to realize it as a single CD the song disposition is different from the Limited one.

Interviewer: In this way, between the Limited and the Regular when you listened to both, the impression in the end is different.

Ruki: It will be different for sure. The content is unquestionably easier to comprehend in the Limited. Both cameramen and designers are now working and suffering since they are doing it with the intention of surpass TOXIC without any doubts and the reaction will probably be the one of a good work.

Interviewer: In the case someone buys the Limited, do you have any recommendation on how to listen to it? I want everybody to prepare before the release date.

Ruki: Since in this case it's different even the sonority of every single CD. I want you if it's possible, to listen to it in a condition that will allow you to comprehend it at the fullest.

Interviewer: In other words, the ideal would be to use headphones?

Ruki: The best would be with high quality speakers, but I don't think this is something everybody has, isn't it? So, my intention was to create a sound that could be clearly heard even with computer speakers. Basically, we are creating it with a stance that will allow a better sound to reach you no matter in what condition you are hearing it. But I would be happy if you could listen them with high quality headphones. The important is that they are not headphones undersold at department stores.

Interviewer: What do you think of closed headphones [8] starting from 20.000 ¥?

Ruki: More than the price and such, the best would be come upon good headphones which encounter your one taste. Cheap ones are not good obviously, but that doesn't mean that if they are expensive they are good, I'll entrust you to your choice. Just remember this, I think it's absolutely god that you don't use these little earphones to enjoy the sound of the album.

Interviewer: Got it. We want to wait the 29th of August too, taking all precautions to be 100% sure.

Ruki: In the end it seems something only to satisfy myself. Which is creating a good sound. However, for this reason, I want everybody and kohais too to make a satisfied face and say "It's ok!! This is really a cool album!!" *laugh* For this reason I want to complete it doing my best while colliding with other members for works left to do. You won't regret it.


[1] A phantom sound source is a virtual sound source generated by real sound sources. When listening to the real sound sources, the perception is that of a sound source placed elsewhere in the room. This is why the term 'phantom source' is used. In order to generate a phantom source, the distance and the direction of the phantom source have to be simulated by the real sound sources. This is done by filtering the signals of the real sound sources. Large filters are needed because the acoustic impulse responses are long. Also the systems need to be real-time and therefor the filters have to be implemented in an efficient way. More here .
[2] He meant that it has a smell of the past, but the things they are doing now is totally of the today's the Gazette.
[3] He mean the characteristically GazettE part.
[4] Screamo
[5] Recording in advance a musical execution before doing the music introducing the lyrics.
[6] (like you couldn't take it anymore)
[7] off = rest ; on = work
[8] Open headphones, do not cover the entire ear, and allow for background noise to seep in. Closed models keep all the sound trapped within, audio is often perceived as louder. Took from here .




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