Shoxx 236 - Song interview (2/2)

The Gazette
from DIVISION to DIPLOSOMIA part 2
#2 sublimation

DRIPPING INSANITY

Interviewer: It seems that this song is correlated to Bath Room (from NIL album), doesn't it?

Ruki: To be brief, this song includes the truth of Bath Room.

Aoi: Eh? So it's like that?

Interviewer: You didn't know it until know?

Aoi: I've just discovered it. *laugh*

Uruha: If it was added the sound of the water drop falling, wouldn't it be obvious?

Kai: I see. *laugh*

Interviewer: Shouldn't it be relied to the part of the title DRIPPING?

Ruki: At first, it wasn't a song I composed thinking about Bath Room. But when I was creating it, in my head a brick wall uncannily appeared, from that point I started to tend toward that world in one go.

Uruha: In particular, if you listen to it with Bath Room, it could be interesting.

Reita: How would it be… compared to now, I think there's a big tonality difference. *bitter laugh*

Ruki: You're the man! It's because is a song of even 6 years ago. However, if you listen to both and compare them, I think that certainly there's a kind of resemblance.

Interviewer: As melody, it has a middle tempo. In DISC 2 it's a song from which you can perceive even more the tranquillity.

Reita: The arrangement was easier than I thought. However, speaking of bass recording, this is the song that requested the most time and energy.

Interviewer: Why is that?

Reita: Because Ruki, speaking of the phrase before the refrain, gave me awfully detailed indications. In retrospect, even if we payed particular attention to the smallest details, when we listened to the song.. you couldn't understand almost at all the difference. *bitter laugh*

Ruki: Don't say that! *laugh*

Reita: However, if we wouldn't experiment, there could have been things that we can't understand. Even if by just trying to do it, it had a value as experience.

Kai: Even for this song, detailed indications were given to me by Ruki all the time about the Hat [1] sound. I think Ruki has a clear vision of this song inside of him.

Interviewer: Speaking of guitar tracks, how they were built?

Uruha: In this song, the use of the distorted sound is extremely complicated. At this point, we did our best but even now there are points in which we can't establish if it was the best thing or not. As guitarists, this song has lots of points which represented a great experience.

Aoi: Uruha and I thought about two complete opposite things. Since the structure of this song was completed synchronizing the sound, I took care of the part in which this was supported. Since I did a good job in my own way, I'm satisfied.

Interviewer: Then, I'm extremely curious about this song. When you'll do a live, what kind of image will it be placed?

Ruki: I'm really curious too. *laugh* This time too speaking of images, I don't know about this song, since I've in mind to apply them entirely, I should create something effective in order to convey the world described by the songs.

ATTITUDE

Interviewer: This is a really stimulating song.

Ruki: I wanted to do a quite fast and profusely animated song. Like "'Til where I can go, I'll go." *laugh* From the point of view of the drums, melody A was incredibly difficult. Speaking of which, I wanted to do it intentionally difficult.

Kai: It was really difficult. So difficult that at first I said "Ruki, I'm sorry but it's impossible." *bitter laugh*

Interviewer: However, you managed to do it in some way and it became how it is now.

Kai: No, actually I was forced by the fact that I had to do it perforce. *laugh*

Reita: The bass too, because lots of pauses were added, it was difficult. Since we managed to add at the best difficult sounds one after the other, it was a fortune that such a particular explosive power came to life.

Aoi: During recording I played in a detached way I don't remember very well if -when I recorded it- I did it too much. *laugh*

Uruha: In my case, i kept a hikitaoshi [2] situation. Thinking about the live it was already quite tempered, when I started having fun while playing this song.

Interviewer: The passion overflowing in the sound reflects the title ATTITUDE. In this lyrics, if we can say it, it's the title itself that becomes content, isn't it?

Ruki: The attitude and the ardor. This all is gathered here.

GABRIEL ON THE GALLOWS

Interviewer: This song was composed by Uruha, with which kind of construction was it created?

Uruha: At first, I started composing it from a guitar phrase as usual. Back then, it was completely different from the finished form this song has now, because I thought of doing it with a middle tempo. However, since a song with a middle tempo was already there, I thought "Good, then why don't I try raising up the tempo!". When I dabble with datas till the point of thinking "Good, like this should work!", I already raised the tempo until this point.

Aoi: Thanks to this, it became difficult. *laugh*

Uruha: It became a song that I wouldn't be able to play if I couldn't reach a perfect condition. *bitter laugh*

Reita: You screwed it up eh? *laugh*

Uruha: Probably, it was bad raising the tempo while drinking beer at home, wasn't it? I was slightly tipsy and thought "Since I can, it would be better a bit faster!" and in the end I did it like this. I'll search my soul.

Interviewer: On the contrary, I think it was a fortune. If it wasn't for alcohol influence I don't know if this song would have such a speed-up, as listener this song is welcomed.

Uruha: Speaking of music production, I'm aware that there are not so good passages. However, unexpectedly the songs I created while drinking are quite a lot. And it's true that if I didn't this song faster, it wouldn't be original.

Reita: I like this song. It's fast but the way how the refrain ends is not ordinary and moreover, the melody is perfect. When I listen to this album after we finished it, I end up singing this song too.

Uruha: Really?? Where?!

Reita: In the car. *laugh* This is a song that gives an extremely pleasurable feeling while listening to it.

Kai: I perfectly understand that feeling too. This is a song that if I had to execute, I'll have to keep up the controtempo. Since among the GazettE's song there aren't lot of similar songs, this is was really interesting.

Aoi: The songs composed by Uruha are the ones with a 'particular taste' to it.

Interviewer: I agree. It's frequent the impression that one or two plots were added. When you express a song like this, do you need an approach different than usual?

Aoi: Mmmh.. let's see. Speaking of this song, there are lots of points that were explained and indicated to me by Uruha, I adapted myself to these.

Interviewer: What kind of indications?

Aoi: Like how to use the arm or how to play rapidly the chords near the headstock [3], etc.. I had to do them both but this time I satisfied the requests to the limits of my possibilities. *laugh*

Interviewer: Uruha-kun, looking at the completed form in this way, which kind of feeling do you have?

Uruha: If I have to say the truth, I think we did our best until now. Even if the tempo of this song would have been different -since it's a song I started composing without imaging it would be in DISC 2-, even after doing it with this tempo, it couldn't have a complete form. Since it was added in DISC 2, the song itself is normally rock despite the necessity of adding electro elects or buds. At first, the sound was mixed as if it was filled by force and in the end it acquired this form. Probably it's the first song composed by me which gave me so many difficulties.

Interviewer: In a few words, since it's a song that gives a hard time, GABRIEL ON THE GALLOWS was probably finished with plots in a good way. Speaking of this song, Ruki, from where did you chose the words for the lyrics?

Ruki: While I was writing the lyrics, what I focused on was the image of gallows from far. But it's not what I represented in the lyrics. Will it be good to explain it? I can’t use such a direct expression in a magazine but what it comes out from here is "a sick person XX who wishes to die". The words I didn't say here.. probably if you read the lyrics, you'll understand them.

Interviewer: Then let's let the listeners discover it.

Ruki: Our fans frequently carefully read lyrics in their own way. I think that this is one of the fun things you can do, I want that towards GABRIEL ON THE GALLOWS too everyone try to grow their own imagination inside of them. It looks like a trap. *laugh*

[MELT]

Interviewer: The other 3 SE were created by Ruki, this is the only SE composed by Uruha.

Uruha: This SE was born from something abstract. When I talked to Ruki, he wanted to end this album with a feeling like "an ascension to the sky", when I asked him what "an ascension to the sky" meant he answered "like a cosmic feeling".

Interviewer: It's really abstract.

Uruha: I thought that too, I thought "what the hell is he saying so suddenly?" However, while I was creating it, invisible things and things without a form ..when I arranged them into sound, the interest to see how this SE would become born inside of me and so this SE came to life.

Ruki: In MELT, the world turns into dust. In the end we just say "Perceive this cosmo!" *laugh*


[1] Hi-hat
[2] A way of playing guitar, you can see an example in this video.
[3] Headstock





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