The trailer for Randy Rhoads: Reflections of a Guitar Icon
Randy Rhoads: Reflections of a Guitar Icon ©RANDY RHOADS: LEGEND, LLC 2022

Randy Rhoads was a legendary guitarist who died at the young age of 25 in an airplane accident on March 19th, 1982. He built his resume through Quiet Riot and Ozzy Osbourne and passed away at the peak of his career. His existence had a massive impact on the heavy metal world. 

40 years after his death, Randy Rhoads: Reflections of a Guitar Icon has been released exclusively in Japan. The director, Andre Relis, decided to come to Japan, so we spoke to him about various things. 

I personally hope the readers of this interview will listen to Randy’s guitar in the following albums: Ozzy Osbourne’s first album, Blizzard of Ozz, his sophomore album, Diary of a Madman, live album Tribute, Quiet Riot’s eponymous first album, which was only available in Japan at the time, and their sophomore album, Quiet Riot II, since it’s easier to access it today.

Andre Relis
Andre Relis was born in 1975 and is a film director from California. He started his film career in the late 90s as a producer for Fox Sports and a film distributor for Amazing Movies, Lionsgate, and so on. In 2010, Relis founded VMI Worldwide, a film production company based in Hollywood. The company produces and distributes many films around the globe. In recent years, it has released The Price We Pay by Ryuhei Kitamura and Wander, starring Tommy Lee Jones and Aaron Eckhart. In 2015, he directed his first documentary, N.W.A & Eazy-E: Kings of Compton, which shed light on the truth behind hip-hop crew N.W.A. Randy Rhoads: Reflections of a Guitar Icon is the second film he’s directed. 

Being inspired by the culture of Tokyo 

——How many times have you visited Japan?

Andre Relis (Andre): I think this is my sixth time.

——You’ve been here quite a lot.

Andre: Yeah. I’ve been here once with my family, once when I was small, once on my own, and around three times for work.

——I heard you lived in Japan when you were a teenager. 

Andre: Ah, that’s because we came to Japan as a family. My father worked for the government, and we moved around Taiwan, the Philippines, Japan, China, and Thailand. I don’t know how to put it into words, but I had a deep affinity with Japan and wanted to come back. So, I worked at Taco Bell for the summer to save money and returned to Japan. I spent one summer here, staying at my father’s friend’s place and other places. 

——What aspect of Japan did you develop an affinity with?

Andre: This might sound weird, but I felt freer in Japan than in America. I felt liberated when I lived in Japan. I loved how you could buy beer from a vending machine. Nothing was cooler for a boy like me (laughs). Also, I got inspired by the culture of Tokyo. The city lights were pretty, and I was fascinated by the beautiful temples. Plus, Japanese people are kind, and the food is good.

——Do you like any Japanese films or music?

Andre: There’s a film that depicts people’s dreams. What was the title? I can’t remember, but I think it was an Akira Kurosawa film. I also feel calm when I listen to classical Japanese music. Growing up, I was a part of a religious group that merged different religions. Hinduism didn’t really resonate with me, but I was so drawn to Buddhism. Maybe that’s why I’m naturally drawn to Japan.

In terms of art, the detailed touches of Japanese paintings are excellent. I also love bonsai. I became interested in bonsai when I came to Japan as a teenager and started buying and taking care of my own. I once got my father to water my bonsai plant, but it withered because he forgot to do it. I felt so sad because of that, and I got angry with him (laughs). 

What N.W.A and Randy Rhoads have in common

——(Laughs). What was the catalyst for you to become a film director?

Andre: I used to be a musician and became involved in filmmaking after that. There’s no doubt music is my foundation. I founded Vision Music, a label that creates music-related films, in 2003. I was interested in documentaries about musicians, and the first one I worked on was What We Do Is Secret with King Records, a biographical film about the punk band Germs. That was the first time I produced a film.

——Which documentaries are your favorites?

Andre: I have a lot. In terms of music, The Doors by Oliver Stone, Sid and Nancy by Alex Cox, and My Career As a Jerk, which is about Circle Jerks. This isn’t about music, but I love Taxi Driver. 

——Do you like punk music?

Andre: Yeah, I was in a punk band!

——I didn’t know that. I assumed you were in a metal band.

Andre: It was a punk band, but we incorporated metal elements. Going back to films: I also like The Decline of Western Civilization trilogy (The Decline of Western Civilization, The Decline of Western Civilization Part II: The Metal Years, and The Decline of Western Civilization III). Depending on the film, it features punk rock and heavy metal. I don’t see punk and metal as separate things. I feel like there’s a link between the two. 

——Do you like bands that combine hardcore punk and thrash metal, like Stormtroopers of Death?

Andre: Speak English or Die (Stormtroopers of Death’s first album and a masterpiece of crossover thrash)!

——(Laughs). Before Randy Rhoads: Reflections of a Guitar Icon, you directed N.W.A & Eazy-E: Kings of Compton, a documentary film about the American hip-hop crew N.W.A. What made you make this?

Andre: Back when I was into punk and metal, I also listened to N.W.A. The group reflected on their real-life experiences as Black people, but I felt hip-hop had something in common with punk and metal. Randy Rhoads resonated with me just the same. 

——I see. After your documentary on N.W.A, you made a documentary film about Randy Rhoads during his Quiet Riot and Ozzy Osbourne years. It’s interesting how you went from hip-hop to heavy metal. 

Andre: I also think N.W.A and Randy Rhoads have something in common. N.W.A was the creator of gangster rap and was revolutionary. Likewise, I believe Randy Rhoads, who played for Quiet Riot and Ozzy Osbourne, was the creator of heavy metal. It’s like how Iggy Pop and New York Dolls created punk rock. 

Hip-hop, punk, and heavy metal are all completely different genres with different sounds, but I feel a similarity in how they have a rebellious spirit. My punk band collaborated with Young MC, who was on the same label as us, to make a punk rock hip-hop song in 1997. Like Ice-T and Body Count, punk is compatible with hip-hop.

——True. Let’s talk about your documentary film. Did you first discover Randy Rhoads through Quiet Riot or Ozzy Osbourne?

Andre: I found out about Randy Rhoads through Ozzy Osbourne. Quiet Riot’s first two albums (Quiet Riot and Quiet Riot II) weren’t sold in America. You could only get those records in Japan. To be honest, I hadn’t really listened to Quiet Riot’s music until I made the documentary.

Randy Rhoads: Reflections of a Guitar Icon ©RANDY RHOADS: LEGEND, LLC 2022

Randy Rhoads’ influence on heavy metal was revolutionary

——I didn’t know that!

Andre: Of course, I knew the existence of Quiet Riot’s first two albums. I realized how amazing they were during the process of making this documentary. I listened to their music over and over. After properly listening to the first two albums, I realized they were more brilliant than their other ones. 

——The band’s first two albums spoke to you more than their third album, Metal Health, which became number one on the national charts. Why are the first two albums appealing to you?

Andre: I feel a sense of musicianship, and they have a lot of great songs. The song that became a hit was a cover song (Slade’s “Cum on Feel the Noize”). The albums that had commercial success were the later albums, unmistakably so, but the content of the first two is better. I feel like they should be more acclaimed. 

Randy Rhoads: Reflections of a Guitar Icon ©RANDY RHOADS: LEGEND, LLC 2022

——I see. Many people know of Randy Rhoads from his Ozzy Osbourne era, but I could tell from the film that Randy’s talents were already ripe during his Quiet Riot era. The fact that the film could convey that was great.

Andre: I was moved by that too! But it was hard for people to get a record deal, even if you were as talented as Randy Rhoads. I mean, you had to face the harsh reality, right? To live as a musician is difficult. You can also see that in the film.

——What was the blueprint behind Randy Rhoads: Reflections of a Guitar Icon?

Andre: There was an original documentary made in 2012, and we were able to get the license to make this one. That was major. That’s why I was able to feature Randy Rhoads during his Quiet Riot era. I wanted to zoom in on how he paved the way for heavy metal and how significant of a role he played in Ozzy’s solo career. 

——What do you think is Randy Rhoads’ magic?

Andre: He grew up in a musical family, which greatly influenced his guitar-playing style. He would generously teach music to others, and even when he was at the peak of his career, he was immersed in the guitar and never stopped studying it. I believe the influence he had on heavy metal was revolutionary. The way he played the guitar was so brilliant! Listening to heavy metal from the 80s, I feel like what Quiet Riot did with their first two albums significantly influenced the guitar riffs and musicality of that era. 

 Randy Rhoads: Reflections of a Guitar Icon ©RANDY RHOADS: LEGEND, LLC 2022

 Randy Rhoads: Reflections of a Guitar Icon ©RANDY RHOADS: LEGEND, LLC 2022

■Randy Rhoads: Reflections of a Guitar Icon 
 Cast: Randy Rhoads et al
Music: Randy Rhoads et al
 Director: Andre Relis 
 Script/editing: Michael Bruining
Distributor: Albatross Film
Support: Nippon Cultural Broadcasting 
https://randy-rhoads.jp

Photography Shinpo Kimura
Translation Lena Grace Suda

The post What Legendary Guitarist Randy Rhoads Left Behind: Director Andre Relis’ Message in Randy Rhoads: Reflections of a Guitar Icon appeared first on TOKION - Cutting edge culture and fashion information.

Winning the Heritage Award for Watashi wa Shingo at the Angouleme International Comics Festival inspired the manga artist to create his 101 paintings titled “Zoku-Shingo: Chiisana Robot Shingo Bijutsukan.”

Once you read this interview, there’s no doubt you’ll feel the esteemed Umezu’s energetic spirit. 

In the latter half of the interview, Umezu brings up Taro Okamoto, who believed humanity hadn’t progressed. He created the primitive-feeling Tower of the Sun and blew Expo ’70 out of the water, which had the theme “Progress and Harmony for Mankind.” You’ll see that Umezu shares a similar sentiment and soul, too. 

Kazuo Umezu
Kazuo Umezu was born on September 3rd, 1936, in Wakayama prefecture. He decided to become a manga artist in fifth grade after becoming inspired by Osamu Tezuka. Umezu made his professional debut in 1955 at 18 with Mori no Kyodai. He gained nationwide recognition as a horror manga artist with titles like Nekome no Shojo and Reptilia. In 1975, he won the 20th Shogakukan Manga Award for The Drifting Classroom. Umezu published hits like Makoto-chan and Orochi afterward. In the 80s, he published mangas that depicted the near future, like Watashi wa Shingo and Fourteen. He’s gained an international fanbase with his creative world-building. “Kazuo Umezz The Great Art Exhibition” is now being held at Abeno Harukas Art Museum in Osaka.
http://umezz.com/jp

The predilection for using pretty colors

――It’s been a while since your exhibition, “Kazuo Umezz The Great Art Exhibition,” was held in Tokyo from January to March this year. Have you received any responses and thoughts about the exhibition?

Kazuo Umezu (Umezu): People talk to me a lot whenever I’m walking down the street, so it seems like many people went to the exhibition. No one has told me it was boring (laughs). 

Everyone seems to have been moved by the exhibition; it gives me strength whenever they say words of encouragement in a lively way. It makes me happy when someone says, “It was great!” People saying hello or coming up to me proves they pay attention to my work. It’s reassuring that many people are like that. It makes me feel like it’s all been worthwhile.

――I also went to “The Great Art Exhibition,” and the thing that stuck with me is how beautiful the paintings and colors you used were. It seems like you made a point to use both primary and vibrant colors. Did you pay special attention to anything in terms of painting or incorporating colors?

Umezu: I realized I’m the type who tries to use beautiful colors to draw.

I used such colors to draw in middle school too. Aside from colors, I was also particular about using various kinds of paint. As a middle schooler, I would use red ink for red, dyes for blue, and food coloring for yellow. 

I used acrylic gouache for “Kazuo Umezz The Great Art Exhibition.” I was excited to choose which colors to use because they were all so beautiful. The dark colors are pretty too. Each color has a distinct beauty, but when you mix another pretty color, both colors can hold their own. That’s why I did my best to use beautiful ones. 

Some say you shouldn’t mix different colors or apply paint onto a canvas without anything else in art, but modern-day paint is pretty [so it doesn’t matter].

――Paints do look more beautiful nowadays.

Umezu: You can get paint that already looks like it’s been mixed, so you don’t have to do extra work. 

The theme for the exhibition is “A series of paintings.” I could draw whatever I wanted, but it was inevitable for me to create rules. If a random color popped up in a series of connected paintings, people would ask, “What’s going on?” One rule was to use red and pink for Marin, a girl, and blue and green for Satoru, a boy. I used those colors everywhere they went in the paintings. With that said, the color of his pants is yellow in some instances and brown in others. 

It wouldn’t be a problem if each painting were a complete piece, but using disjointed colors wouldn’t have worked since the paintings are all connected; the entire series wouldn’t be coherent and impactful. I’m sure there are rules to art that people from long ago created, but I think you can develop your craft by creating new ones for yourself.

“Kazuo Umezz The Great Art Exhibition” Tokyo (Closing), Tokyo City View (Roppongi Hills)

Wanting to make people thrilled and surprised

――You held your exhibition first in Tokyo and then in Osaka in September despite the pandemic. What was the significance of holding a big exhibition during times like these?

Umezu: I, too, was thrown into the pandemic, so I gave this some thought. Even in a world with covid, a recession, and conflict, we will always want stimulation and fun as long as we’re alive.

As the title of the paintings suggests, to feel “Zoku [zoku]” is to feel excited in any situation, even if the world is upside down. We should have things that draw us to them and make us go, “Wow! That’s so cool!” We need spiritual nourishment no matter the situation. 

But even without thinking about all that, I still believe we need things that excite us no matter what. I painted with the desire to make everyone excited and surprised, regardless of covid. I feel like your focus shifts on what you’re looking at [if it’s interesting], thus making you forget about your pain, even if it’s just for a second. That’s essential.

――I feel the same way. I read in another interview that the words “human deterioration” popped up when you were working on “Zoku-Shingo: Chiisana Robot Shingo Bijutsukan.” How did you try to reflect those words in your work?

Umezu: The paintings depict somewhat of a competition between robots and humans. I just thought that humans would deteriorate the more robots advance because they wouldn’t be able to keep up with robots. I feel like people are convinced that everything should and will progress. They don’t think about deterioration. 

I started thinking about this because people cause harm to others daily. I’m sure each person has their reasons, but seeing such things made me think, “Well, we’re going downhill.” When things are progressing, things go in a good direction. But things are going in the wrong direction, making morale low. I feel like the future is about returning to nature. Once there’s no civilization left to progress, the only choice would be to return to nature. We’ve reached a point where the forefront of progress is almost out of reach.  Modern progress is about numbers. Once we get results using them, we won’t be able to revert the process. Things will only continue moving forward. We listen to science telling us what to do and operate accordingly without understanding what’s at stake. If electricity stops working, progress will also stop. Then, we humans wouldn’t be able to do anything. We’d disintegrate. That’s why I feel like the direction we’re heading in is that of deterioration. I call it the reformation of deterioration (laughs).

“Kazuo Umezz The Great Art Exhibition” Tokyo (Closing), Tokyo City View (Roppongi Hills)

I won’t continue drawing unless I hear a voice inside me saying, ‘That’s good”

――(Laughs). Change of topic: you’ve been living in Kichijoji for a long time. I also live in an area not too far from you, and I sometimes see you walking around. Does Kichijoji influence your creativity or ideas?

Umezu: Not at all. Whenever I draw something based on Kichijoji, it’s more like a journal of my everyday life. Rather than it being dramatic, it’s more like nonfiction. But that’s not what I strive to do. Kichijoji, San Francisco, or New York; where I live doesn’t matter because I live in my head. However, I will say that Kichijoji is convenient for shopping (laughs).

――Your mangas are highly appreciated abroad too. How do you think your foreign audience perceives your work? What sort of responses do you get from them?

Umezu: I’m not sure since I’ve never met them, but some movies make me say, “They took that from my work,” so I think my work is recognized abroad. I also read a Spanish book that was written about me. 

I also read God’s Left Hand, Devil’s Right Hand in Japanese because I heard the translated version was published abroad. I don’t read my own manga once I’m done working on it. So, when I reread it, I was like, “Wow, look at that! That’s amazing!” I read it from the perspective of a reader. Not to toot my own horn, but it was impressive. I thought about watching the film adaptation, but I stopped because I felt like my manga would win (laughs). 

I sound like I’m praising myself, but that’s how impactful the manga seemed to me. People might hesitate to read it because the human aspect of it sticks out, but the story is excellent. My career abroad has only just begun.

――It’s as though your mangas predicted modern-day society. In Watashi wa Shingo, you illustrated the computer, for instance. I still get surprised when I read your work today. How did you come up with this idea? Amid an era where so many things are happening, what does progress and the future look like to you?

Umezu: People still believe advancement is inevitable but must realize they have the wrong impression. That’s the only way to improve the future. At one point, I realized the job of the manga artist was to draw what would happen next. 

I used to think of different stories in my head, but I never thought about reality or what was happening in the world. Looking back, every manga I drew aligned with whatever became popular afterward. There’s no other way to say it; my work has remained relevant through the years. But it’s not like I predict the future using logic. 

――What was the process behind Watashi wa Shingo like?

Umezu: When I drew Watashi wa Shingo, there was a curse of mangas with a lot of research that went into them not doing well. I knew the manga wouldn’t perform well if I half-heartedly looked into robots and incorporated that into the story because of the curse. I used photos taken at a factory to reference realistic designs, but back then, you would see rows of square computers that weren’t interesting at all. I had to come up with an exciting design on my own. The robots at the factory differed significantly from what I drew, but I asked computer experts whether the robots I drew would function. I tried my best to merge my imagination and reality.

I won’t continue drawing unless I hear a voice inside me saying, “That’s good.” Once I hear it, I draw obsessively, no matter what anyone says. You run into hindrances if you work on one manga for six years. If you pay attention to them, you’d be discouraged, and your work will be confused. It’ll fall apart because of the lack of cohesion. Even if whatever I’m working on isn’t well-liked, once I hear my inner voice saying, “That’s good,” I have to trust it and complete the process.

――You stick to your gut once you start drawing.

Umezu: Another good thing is that I feel like there’s something other people and I have in common. As long as my intuition is correct, the things I like will begin spreading among the rest of society. I believe this is something that happens to me.

Whenever I draw something new, the content naturally becomes about the future. I foresee future events before I even know it. I feel like having a childlike spirit plays a significant role in this. Just because something is made into reality through science and logic doesn’t mean a new story is born. If you write about what happens in reality, nothing is exciting or fun about it. 

Truth exists, of course, but it’s different from fiction. I want to create interesting stories. Having a childlike spirit is a profound thing. It’s a great thing I picked up. My stories feature children, so there’s a connection (laughs). The difference between adults and children is that adults might think something is childish, but children might think the opposite. Whenever I draw stories, the direction is usually determined by the protagonist. The age kept getting younger and younger, and in Fourteen, the protagonist became as young as three years old. That’s no longer about having a childlike spirit, as three-year-olds are children (laughs). 

――True (laughs).

Umezu: I recently read an article in which Yasunari Kawabata-san said, “You need to have a childlike spirit.” I felt there was a disconnect because his works were moving and dealt with everyday subjects. But I realized you need a childlike spirit to have an artistic and dramatic one, or else you wouldn’t be able to create a good piece of work. 

That’s why having a childlike spirit is an important criterion. But that doesn’t mean I’m disregarding nonfiction. Everyday life is nonfiction, so you must connect the two to establish a narrative. How that could look depends on the artist’s skills.

――That allows the artist to show off their skills.

Umezu: Old mangas have a childlike spirit, but recent mangas are about jobs, to put it simply. I believe mangas should have a wonderful youthful spirit; they shouldn’t portray work. It’s vital to have both a childlike spirit and polish. In that sense, I guess I’m the best at what I do (laughs).

The content of God’s Left Hand, Devil’s Right Hand, is chaotic, but I feel like it represents a childlike spirit. It’s like, “Now, this is what I want to draw! This is it!” The term youthful spirit can also be linked to artistry, which is why it resonates with me to this extent. 

With that said, I’m not making fun of reality. I can’t change reality, so all I ask for is to have a free inner world. If we’ve been able to evolve as humans regardless of the era, then I want to say that I’ve used my imagination to the fullest to create things.

“Kazuo Umezz The Great Art Exhibition” Tokyo (Closing), Tokyo City View (Roppongi Hills)

“I painted to the best of my ability, so I want everyone to see my works”

――Your exhibition in Osaka opened in September. What part of the exhibition do you want to highlight for prospective visitors? Also, what’s your image of Osaka? Do you have any memories there?

Umezu: I’m so grateful people want to visit my exhibitions many times. Those who saw my paintings in Tokyo and those who haven’t will find something about the paintings that move them. I painted them during covid, so I’m sure there’s something people could be drawn to. I hope they can look for that element. I feel like something about the paintings will resonate with people and make them say, “Oh wow, look at how detailed this part is!”

When I think of Osaka, I think of a big city. I’m from Gojo, Nara, so Osaka is the closest big city for those from Gojo. When I started drawing manga, I submitted a story to Shojo Book published by Shoeisha, and they decided to feature and serialize it. Haha Yobu Koe was serialized for a year, and I also drew other stories, but I felt that I still didn’t have enough skills. I brought my story to a publisher in Osaka because I wanted to start over. I drew mangas in Osaka until that publisher went out of business. After that, I came to Tokyo.

――I didn’t know you drew manga in Osaka!

Umezu: Unlike the culture in Tokyo, Osaka’s culture has no pretense. There were many unashamedly childlike mangas, so that was fun (laughs). People said pulp fiction books were low-brow, but that made them good. Yaneura 3 Chan is funny. I feel like mangas in Osaka were more open with their emotions, and the same could be said about the people there. It’d make me happy if people in Osaka could view the exhibition in a different light from people in Tokyo. I hope they could see the humor in my work and be like, “That was funny,” or “That part was a gag.” Some might also see the scary parts as a gag (laughs). 

I painted to the best of my ability, so I want everyone to see my work. When I think of Osaka, I think of Taro Okamoto-san, who was powerful and brilliant. I have my strengths in other areas, and I can proudly say I can come up with stories like no other! I’m just as good as Taro Okamoto-san! Picasso drew comics, but I’m just as good as him! I’m just as good as anyone else! If people could view my paintings thinking about how I feel just as capable as people from Osaka, then I believe they could feel even more excited (laughs). 

■Kazuo Umezz The Great Art Exhibition
Dates: ~ November 20
Venue: ABENO HARUKAS Art Museum, Osaka
Address: ABENO HARUKAS 16F 1-43 Abenosuji 1chome, Abeno-ku, Osaka 545-6016 JAPAN
Hours: [Tues. – Fri.] 10:00-20:00, [Mon., Sat., Sun., & national holidays] 10:00-18:00
*Last admission is 30 minutes before closing.
Admission:  Adults ¥1,700, University students / Senior high school students ¥1,300, Junior high school students / Elementary school students ¥500, and kids under 12 are free
Web: https://umezz-art.jp

The post Manga Artist Kazuo Umezu’s Undying Urge to Create appeared first on TOKION - Cutting edge culture and fashion information.

Crossfaith’s musicality never stop evolving as they continue to travel around the world and absorb various band sounds, the vibes from audiences, and cultures. In this interview, we asked Koie, Hiroki, and Teru about what they felt during the global pandemic, the new songs released in September and October this year, and the source of the ferocious rock spirit that makes up the band Crossfaith.

The 15-year history of the band: From its formation to a foray abroad

—— Crossfaith is celebrating its 15th anniversary this year. Have there been any major changes from when you formed the band to now?

Teru: I have more tattoos [laughs].

Hiroki: I wasn’t in the band when it started, and I joined two years later, but back then we were driving cars and selling stuff all by ourselves. But over the past 15 years, more and more people have come on board the ship called Crossfaith, and now we can leave more things to those people.

Koie: I think we’ve been able to fulfill the dreams we had when we first formed, such as touring overseas. However, I thought that after 15 years we would become incredible rock stars, but there were some big hurdles as well. Of course, we experienced some happy moments and some realities that made us want to run away. Back then, we were working like mad.

—— In 2014, you performed at the “Download Festival” in England. Wasn’t this the moment when your dream came true?

“Live performance at Download Festival (2014)

Koie: Well, you could say so. However, even though we performed, we were not the headliner on the main stage. In this sense, we didn’t reach the top. Well, I’m happy that we’re still having fun and working as a team with the same members.

—— Can you tell us about what exactly you dreamed when you formed the band?

Koie: We’ve been chasing dreams that people would say are reckless, like performing at Download Festival as headliner. But as a result, we have been performing overseas every year, and one of our dreams came true when we did our first UK tour in 2012. We had a pretty tough schedule, and we drove a van all over the UK.

Teru: Of course we have the ambition to headline Download Festival, but we already fulfilled our dream of being a band when we formed, and we still feel like we’re in that dream. However, the coronavirus pandemic has prevented us from playing shows at all, and we haven’t been able to go overseas for about two years. Recently, I even dreamed that I’m on an overseas tour.

—— When was your first show outside of Japan?

Hiroki: It was in China in 2010. It was a music festival organized by the Chinese government, and I was told that it would expected to attract about 30,000 people, but….

Koie: There were only 500 or 600 people there [laughs].

Hiroki: Yeah. On top of that, the security was far from perfect and there were local cops watching our show the whole time [laughs].

Koie: I remember that Japanese rock band Quruli was also there.

Teru: Sora Aoi was there too, right?

Hiroki: Yeah, Sora Aoi was the headliner.

—— Crossfaith, Kururi, and Sora Aoi…… it’s quite a chaotic lineup, isn’t it?

Hiroki: Sora Aoi was very popular in China. So her performance seemed to be the most exciting time for the audience.

Teru：However, even though the audience was not as large as we had expected, the response to our show in China was quite primitive. That’s why we were excited. We had always longed for this kind of reaction because we’d seen the Prodigy‘s Warriors Dance Festival shows and Metallica‘s shows in Russia.

—— Metallica at “Monsters of Rock 1991” in Moscow. The crowd went crazy for that show!

Teru：Watching those videos, I was inspired by the energy of rock music.

Hiroki : It’s interesting when you play in places where rock music has not taken root, because you get responses that you never expected.

Teru : For example, when we toured China, we sent the promoter a list of songs we were going to play. And they said, “What’s ‘Jägerbomb’?

Koie: We got told that “bomb” sounds dangerous [laughs].

Teru : And that’s why we couldn’t play “Jägerbomb” at the show.

Hiroki: There was some kind of censorship.

Crossfaith “Jägerbomb

—— I’ve also heard stories about people checking song titles and lyrics and limiting the songs the musician can play at shows.

Koie: That’s exactly what happened to us.

Teru: In terms of overseas experiences other than China, we played a show in a very rural town in Italy. We did a show in a place where we could not believe that people would come, but once the show started, people started to gather there. This was also something I couldn’t experience in Japan.

Hiroki: There are places in Europe where parents and children come together to enjoy rock music. In Japan, people scarcely come to shows extemporarily. In this respect, I feel that the situations surrounding live shows and rock festivals in Japan are unique.

Reasons why Crossfaith keep going overseas for the live shows and its appeal

—— Before Crossfaith, I don’t think there was any Japanese band that went on overseas tours as frequent as you do now. What is the source of your motivation to keep going out to the world?

Teru: I grew up in Sakai, Osaka. When we made the first album The Artificial Theory For The Dramatic Beauty, we didn’t even know how to record it. Even so, we did it by ourselves. I had a vague dream of going abroad, and that’s when I met our current manager. He told me, “I’ll take you guys to America.” I hadn’t met him before, so I thought, “Who the hell is this guy?” But he went to the U.S. by himself to have management agencies overseas listen to our music. I was surprised by how active he was. So we decided to work together. We wanted to go overseas, and he wanted to take Japanese bands overseas. Hence, our feelings matched, and our performances outside of Japan became a reality.

—— I see. That’s how it happened.

Koie: The main reason why we keep going overseas is because it’s fun! I’m kind of addicted to it. When I meet Japanese bands that have gone abroad who say touring abroad is frightfully tiring, I feel like, “Are you serious?” Of course, there are times when it’s hard, but I’ll never forget the moment I looked up at the sky in England and thought, “Oh, I’m in England now.” When you are abroad, you get stimulated from everything around you. In a way, we have found the core of our band in the shows overseas. We haven’t been abroad for about two years now, so when we get together with the band members, we always say, “I can’t wait to go abroad!” That’s all we talk about now [laughs].

—— You miss being abroad so much, right?

Hiroki: This might sound abstract, but when we play shows overseas, sometimes we get good responses from the audience and other times we don’t. When that happens, we can go back to the zero point as a band. If we don’t get what we want from the audience, we can change the setlist for the next show and try something different, and that’s when I think we are doing a band. In terms of personal episodes, I try to walk around the city when I’m on tour. I’ve been to about 200 cities in 40 countries so far, and the music I hear and the cityscapes I see while walking around are very fresh. It’s hard to experience a sense of zero as a band if you just keep touring in Japan. We need to input fresh things overseas and output the influences we receive from them in Japan. I think this cycle is what makes Crossfaith the band that it is.

—— Have you discovered anything while playing shows and touring overseas?

Koie: When I went to England, I listened to a British band on the van ride, and the sound was completely different from what I was listening to in Japan. What I realized there was that the sound that grows in a certain place becomes the music that represents the personality of that place. Until then, music from the U.S., Canada, and the U.K. all sounded the same to me, but now I can tell where the band was from. Therefore, I think Crossfaith’s music embodies some kind of Japaneseness that a part of the audience can recognize.

Hiroki: When I went to a venue in France, and there were chefs who prepared candles, wine, and bread for the audience. This would be unthinkable in a Japanese live music venue, but I realized that this is the norm at this kind of place in France. It was so new to me and reminded me of how diverse the way of enjoying music.

—— What about you, Teru?

Teru: We participated in Limp Bizkit‘s tour and saw some really cool bands at festivals overseas. We’ve been inspired by all of them, which let to band’s growth. We’ve been thinking about how we could put on a cool stage that would be as good as the ones of bands from other countries. Also, we want to bring back to Japan what we felt was rock in other countries. At our live shows in Japan, I want audience to feel that Crossfaith brings a new and different wind.

Koie：Yeah. I’m glad to meet people who say, “After seeing Crossfaith, I now want to go abroad.” I’d like to see more Japanese bands going abroad.

—— By the way, what are something you felt was rock in other countries?

Hiroki: For example, even if there’s trash left on the ground at a festival, people would think it’s okay if there’s something more important than trash at the festival. Because rock music can’t be fully described rationally, and it’s the rough-edged part of it that is so appealing.

—— That’s true. Some overseas rock festivals don’t have trash cans, and some don’t have ushers or guards. The venues of such festivals are full of people who come purely to enjoy the music. That sense of openness is probably unique to festivals outside of Japan.

Teru: I think the extent of freedom that people seek in rock music is wider at overseas festivals.

Koie: There are countries like Japan that place emphasis on cooperation, and then there are countries that don’t care about other people. They are like “It’s a festival, let’s have fun!” On the other hand, foreign artists performing at or those who come to the Fuji Rock Festival are very impressed with how beautiful it is. But we’ve always admired foreign rock bands and their culture, so we’re drawn to the rough stuff.

—— There’s no right or wrong answer to that, it’s just a matter of taste and which one you prefer.

Koie：That’s totally right.

What they have built over the past 15 years and their future prospects

—— Let’s talk about Japan now. At a show at “ONE MAN TOUR 2019-EX_MACHINA CLIMAX” hosted by Crossfaith in 2019, Koie said, “During the trip, we met coldrain, SiM and Hey-Smith.” What did you think at that time after seeing the music scene in Japan and overseas as Crossfaith?

Koie: Yeah. They made me realized that there are cool bands in Japan that have similar sense of values to ours, and I’m grateful for the fact that we are still able to develop through friendly competition with the bands that made me think that. I respect that they stay and continue to be active in Japan as their own form of rock, and I no longer have to look at things from a dualistic perspective of domestic or international. On the other hand, I’m also afraid of being too tolerant. I always want to keep my middle finger up somewhere, and I don’t want to lose that attitude. Now I’m able to listen to a lot more kind of music than I used to, but I’m not sure if I should take that shift as growth or not.

Teru: That’s true. I have to value the essence of who I am. It’s important to be able to give the middle finger to people who are doing dumb things, and I think that’s how we’ve been able to do what we’ve wanted to do.

—— Well, was there anything that has been a turning point for you in the past 15 years?

Koie: I can’t even count the number of times I’ve had a turning point in my life, like when I went to the UK for the first time, or when I played Download Festival, or when I released the ZION EP in 2012. Personally, the first time I went to the UK was a highlight for me. I still remember so many details, it was such a shock.

Hiroki: For me, it was the summer of 2013, when we did the Warped Tour, playing about 40 shows over 60 days in the U.S. We spent two whole months in the U.S., traveling in one bus every day. Even on our day off, we had to be with the band members. No matter how tired we were, we had shows and parties almost every day. I realized that that’s what band’s touring is all about. But looking back from now, that tour was fun.

Teru: The feeling I get from the situation in front of me changes from moment to moment. When we played Download Festival, of course I was happy, but when I got off the stage, there was a part of me that was calm and thought, “If I keep going like this, I’ll never be able to be a headliner.

Koie: The venue was filled to the brim, but at the same time we realized the limits of our power at the time. We’ve been to a lot of rock festivals overseas, so we want to rock everyone out someday.
I personally felt that Teru had changed so much when we were working on the first album. At that time, we did all by ourselves from mixing to producing, which placed him under a lot of pressure.

Teru: I was really going to sell about 12 million copies, which is as great sales as of Linkin Park‘s “HYBRID THEORY”.

Koie: Yeah. At the time of the final mastering, he said, “I haven’t finished the mix yet. I’m not sure if I’ll make it in time.” But after overcoming that challenge, Teru became much more responsible. In retrospect, releasing the first album was a turning point for me as well.

—— I’d like address your new songs, “Slave of Chaos” released in September, and “Feel Alive” released in October. When were the both songs written?

Crossfaith Slave of Chaos

Koie: I wrote Feel Alive first. It was written around the end of March last year.

Teru: Both of these songs were written during the coronavirus pandemic, so they became two contrasting songs. For Feel Alive, I wanted to write a song that could be completed with the audience’s participation. So I would like to play this song in front of the audience even under regulation relating to the coronavirus pandemic. Even though the Corona disaster has made the world a more difficult place, I still believed in the power of people and wanted to make a song that could resonate with everyone. Slave of Chaos was an impulsive expression of my frustration.

—— In the intro of Slave of Chaos, Koie tried rapping, didn’t he?

Koie: I was trying to fit my vocals in the trap beat that Teru made. It was born from absorbing various types of flows, and I was conscious of both stillness and movement in my vocals. I’m glad if listeners can see it as my new approach.

—— In addition to being a new challenge, it was a very cool song with a heavy tone typical of Crossfaith. On the other hand, I felt that Feel Alive was a song that came from the many struggles that you have experienced. I think this song also has a new texture.

Teru: We asked Josh, one of the members of British dubstep band called Modestep, to mix it. We’ve been trying to fuse band and electro sounds since the beginning of the band, so I wanted him to do it because he is at the forefront of the drum ‘n’ bass scene in the UK. With this song, we’ve successfully expanded our possibilities. Koie’s vocals have a more human touch than his vocals in other songs.

—— I see what you mean. Koie’s voice and lyrics have never been gentle as in this song.

Koie: As a vocalist, I had been thinking a lot about how to express what’s on my heart. With more things that I could do, I think I could express myself living in the year 2021.

—— The lyrics are in English, but the content is very direct, which reminds me of the ones of Japanese old-school punk bands.

Koie: Hahaha. If you translate them into Japanese, yes. Teru told me that he wanted to make a song that everyone could unite through, so I wrote the lyrics with that in mind.

Teru: Because we play the songs ourselves, it works on our bodies as well. I want Feel Alive to resonate with the audience, and it will be more meaningful for us if we play it in the live show.

Hiroki: We have a lot of aggressive songs, but this song and its lyrics are healing us. I think we were able to make this song because we had a period of time where we couldn’t play live as a band.

—— I was also impressed by the warm lyrics: “Now we find can’t live alone.”

Koie: Wearing face masks and taking a social distance has divided everyone in a sense. Many different kind of people come to our shows, but I think everyone gathers together because there is a feeling that unites everyone together. That’s why we feel a sense of emptiness when we can’t do that anymore. I am sure that everyone would echo what I am feeling. Tomorrow will definitely come, the rain will stop, and you are not alone. I would be happy if we could convey this message to you, the listeners, through this song.

Crossfaith
Crossfaith is a metalcore band formed in Osaka in 2006. The band consists of five members: Koie (vocals), Kazuki (guitar), Hiroki (bass), Tatsuya (drums), and Teru (vision programming). They have been actively performing live in Japan and overseas, and are currently on tour for their 15th anniversary in 2021.
http://crossfaith.jp/
Instagram: @crossfaithjapan
YouTube: CrossfaithOfficial

Photography Takaki Iwata

The post The 15-year history of a band that travels the world: Crossfaith keeps their own stance and moves ahead powerfully even during the pandemic appeared first on TOKION - Cutting edge culture and fashion information.

I sat down with all the members from the aspiring band to hear about their fascination with Ging Nang Boyz, which is the source of their genesis, their domestic tour that they carried out during the pandemic last year (concurrently announcing the departure of a group member,) and their 3rd ‘ED’ Second Kill Virgin, which is the first to be recorded with the new member.

I didn’t really know who Kazunobu Mineta is, but everyone was yelling his name, and that’s when I was like, “ah, that’s Mineta!”

――First, I heard you guys are essentially a fan of Ging Nang Boyz, and they inspired you guys to start the band. Shiina, you’ve seen their live performance before, right?

Shiina: Yes, I have. One day, my friend took me out to their gig in Shinkiba; since then I got into them and started going to a lot of their shows. In the beginning, I didn’t really know who Kazunobu Mineta was, but everyone was yelling his name, and that’s when I was like, “ah, that’s Mineta!”

――[laughs]. What do you like about Ging Nang Boyz the most?

Shiina: I like their lyrics. Their melodies are great, too, but I can imagine the scenes better with lyrics.

――Which song is your favorite?

Shiina: Let’s see. It would probably be “Poadam,” “Hyouryuu Kyoushitsu,” “Yume De Aetara.” But the first song I’ve ever listened to was “Anoko Wa Ayanami Rei Ga Suki.” At first, I thought their music was just noisy, but they made me want to be a person who understands music. They had fervent, hardcore fans, and I—who had eighth-grade syndrome—was struck by them.

――Mare, I heard you’ve found out about Ging Nang Boyz when you were in high school.

Mare: They were trending. I like how their music isn’t anthemic like, “Life’s fun!” I felt like their music is for people like me, who aren’t good at putting themselves out there.

――Nao, you didn’t go through that path of music, right?

Nao: That’s right….

Shiina: Nao didn’t go through that path at all.

――How about you, Asaka?

Asaka: I had to listen to the band right before joining TOKYO SYOKI SYODO, as I was told, “you’ve got to listen to Ging Nang Boyz.” I like punkish music, so it was easy for me to listen.

――Also, TOKYO SYOKI SYODO started by covering GOING STEADY and GING NANG BOYZ’s “BABY BABY,” right?

Shiina: That’s right. Wasn’t that so boring, though?

Mare: Actually, we weren’t able to finish playing that song.

Shiina: I couldn’t even hold the G chord, so I had to air-guitar at our first show [laughs]. But it was fun. I probably shouldn’t be mentioning this but drawing a poop on my arm has now become my dark past.

Mare: Wasn’t it that you had way too much booze?

Shiina: Yup. Back then, we had a male drummer, but we like the girls vibe, and wanted all our members to be girls. Then, we found Nao, and pulled her into the band.

――Which show was Nao’s first show?

Shiina: I think it was our third show—there were only two audience members.

Nao: I don’t remember that at all….

Shiina: She can obliterate her memories with alcohol [laughs].

Mare: After the show, I was given a tiny one….

Shiina: Yeah, that’s called tequila.

We want to form an array of pretty lyrics, while playing pop songs

――I heard your first ever original song, “Cho-Raku,” was born from trying to create a song like Ging Nang Boyz’s “Anoko Wa Ayanami Rei Ga Suki.”

Shiina: That’s right! Right when we started thinking of writing a song like that, the lyrics, “I wanna get some right now” popped in my head.

――That’s quite a lyric to start off with.

Mare: Didn’t we want to pursue that type of direction?

Shiina: In the beginning, we wanted to do something sort of goading, but that became tiring. We started wanting to form an array of pretty lyrics, while we play pop songs. But once in a year, we get the impulse to write dumb songs. “Kuro Gal No Ketsu Wa Nitamago Ni Niteru,” “Koenji Busu Syugo,” and our latest song “Samalove︎” are among the songs born from such impulse.

TOKYO SYOKI SYODO “Rock ‘n’ Roll”

――Were you guys having fun when writing “Cho-Raku”?

Shiina: Yes, we were goofing around with each other.

――Nao, since you didn’t grow up listening to Ging Nang Boyz, were you ever unpleased with these songs?

Nao: No, not at all [laughs]. I just wanted to be in a band. Honestly, I joined the band not caring about the music.

――So, even with the part where you sing, “Mokkori (bulge)”—you’ve never complained like, “I don’t wanna do this!” ?

Nao: No, never [laughs].

Shiina: Regarding that part, I think Asaka was hesitant the most. She was like, “are you serious?” [laughs]

――Ah, when you performed the song live.

Asaka: Because, I never say things like “bulge” or “I wanna get some right now.”

Everyone: [Laughs out loud].

――Your live show that took place in Tokyo in December 2019, was sold out, and I remember people were raving in the club. You guys were formed in April 2018, and that show happened only about a year later, so I was so shocked. How do you feel looking back at that show?

Video of the band’s live performance at Shelter Shimokitazawa on December 18th, 2019
TOKYO SYOKI SYODO “BABY DON’T CRY”

Shiina: It was fun up until then.

――What [laughs]?

Shiina: About a week after that gig, a member told us that she wants to quit—so, it was fun up until then.

If we catch Covid, then that’s that—you can get it anywhere

――And, in spite of the pandemic, you guys carried out a Japan tour last year. I think there were almost no bands touring during that time frame.

Shiina: I know. A member was leaving the band, and we just wanted to move on as quick as possible…. I mean, if we caught Covid, then that’s that—you can get it anywhere.

――How did you feel touring during the time frame?

Shiina: We were fine as usual, but the audience seemed anxious. We could see from the stage how they were there anxious about getting sick.

――I saw your show in Nagoya, at Imaike Huck Finn (on July 19th, 2020,) and I was wondering how you guys were feeling as the mood of the dance floor was way different from how it normally is.

Shiina: The audience was only able to raise their fists, but we felt that they were raving on the inside. We were like, “you guys are feeling the same way as we are, right?”

――How was it for you, Mare?

Mare: Actually, we announced that the member was leaving the band on the day before our show in Hokkaido, and everyone started crying at the hotel. Then the next day, during the show, Shii (=Shiina) burst into tears when singing “not saying goodbye” from the song “Chuo Sen,” and that induced me to cry, and I think Nao, too.

Nao: I cried.

Shiina: Although it’s been decided long ago, we had to keep it low-key for a while, and we were nervous all along. The Hokaiddo gig was the toughest. I brought a rope with me.

――Why a rope!?

Shiina: I was like, “tie me up, so I won’t go crazy on Twitter if someone makes a rude remark after we make the announcement!” So, I was actually tied up in the hotel for a while.

―― [laughs]. How about you, Nao?

Nao: The Hokkaido show is also memorable to me. It was sad, but we drank a lot of booze and partied hard [laughs].

――How about at your final show of the tour at Ebisu Liquid Room (on August 16th, 2020)?

Mare: I felt sentimental with the fact that it was coming to an end with this member.

Shiina: I was excited about the new member, but at the same time, I was so sad.

Mare: I cried so hard. I still can’t watch the DVD (the band’s first ever live footage, Bokutachi Wa Nandaka Subete Wasurete Shimaune.)

Shiina: Right? I cried so much.

――The song I heard at the show, “SWEET MELODY” is one of the highlights for me—there was a scene where Shiina, you turn your head towards Kaho (the former member) while performing.

Shiina: Wasn’t I immersed in the moment?

Mare: You were like, “poor me” [laughs].

Shiina: I wasn’t seeing anything, even the venue—I was just singing to Kaho.

TOKYO SYOKI SYODO “SWEET MELODY”

――I didn’t notice on site, but when I saw the DVD, Shiina, you were weeping offstage in the end.

Shiina: I don’t handle pressure well. I didn’t want to cry ‘till the Liquid Room show was completely over…. Even to this day, I’m like, I have to keep going if someone’s quitting. Anyway, it was the hardest time for me when we did the show at Liquid Room. I kept thinking that maybe Kaho wouldn’t have left if I were nicer to her…. It was tough as there were all sorts of thoughts running through my head.

――And you, Nao?

Nao: We had a great sense of loss that Kaho was leaving.

Shiina: Plus, she was the rhythm section.

――Then, Asaka signed in to join the band, right?

Shiina: That’s right. She ‘liked’ our Instagram post that said, ‘we are looking for a bass player,’ and we noticed she plays bass. We also thought she’s cute, looks like a nice person, and has a positive vibe. So, we DM-ed her saying, “would you be interested in signing up for a try out?” Then she replied, “I was actually about to sign up”—we thought it was kismet.

――How was it the first time playing together in the studio?

Shiina: It was great! She was damn nervous, but I thought that was cute. Plus, she was able to play bass for all of our songs! Even though we had asked her to come to the studio only a week before.

Asaka: I practiced so much. I had to lay out a schedule to learn three or four songs a day.

――I’ve noticed seeing your live performance, you can harmonize well, and I think that’s a great weapon to have.

Shiina: Honestly, we weren’t asking that much, but Asaka was capable.

Asaka: For “Samalove︎” I have to be extremely high spirited, and in the beginning I couldn’t sing the song at all.

Shiina: And I yelled at you.

Asaka: First, I started off from breaking out of the shell [laughs]. I’m a bad singer, but I thought it’s important to let my true self out.

――Compared to your previous record, LOVE&POP, the sound of your latest album seems to be more open. I guess it tells how the band is currently in a good condition.

Shiina: I agree. Our previous record was grim.

――I’d say it felt tense and strained.

Shiina: I was furious when recording the previous record. There were days where I didn’t let the members come to the studio…. I did everything by myself, even the harmonies. But everyone was there to sing “Tokyo Syoki Syodo” together.

Nao: I tried to get rid of the dark mood…. I was concerned.

Shiina: I feel bad [laughs]!

――Your previous record was amazing, too, though.

Shiina: Really? Thank you. But for our latest album, we were able to have fun. We’re now getting along well.

Mare: It’s completely different from our previous record.

Our dream is to someday play live at Hibiya Noon

――What was your initial image of the latest album, Second Kill Virgin?

Shiina: We wanted to go with a euphoric vibe. LOVE&POP was far from being ‘love’ or ‘pop,’ so we thought our next record should be more ‘love&pop.’ Also, since Asaka joined, the mood of the band got better, which motivated us to produce energetic and positive songs.

―― “Samalove︎” is absolutely outgoing!

Shiina: Yes. Last year we did a domestic tour, but other than that, we couldn’t do anything. During quarantine period, I went out to the mountains and the beach, and was able to feel nature; that probably boosted my positive vibe level.

――The next track, ”blue moon” is completely in contrast with “Samalove︎” and it’s hard to believe that they are both written based around the same summer theme—but it’s become my most favorite song in the album.

TOKYO SYOKI SYODO “blue moon”

Shiina: I love that song, too! Summer night makes me want to listen to ballads.

――Makes sense. The melody of that song is so good. It’s sentimental, but my heart flutters.

Shiina: Hahaha [laughs]. I want to make people’s hearts flutter with our songs.

Nao: I got to do different types of rimshots for this song, and it was fun.

――“Ai No Mukidashi” starts off with the bass line; I was thinking that the intro is like marking Asaka’s joining the band.

Shiina: That’s right! Because Asaka joined the band, we wanted to make a song that starts with the bass. I would say it’s a welcome song for Asaka [laughs].

――How about the last song, “Haru”?

Shiina: We wrote “Haru” right when we were releasing LOVE&POP, but abandoned the song for a year. In the beginning, when I had Asaka listen to the song, she said, “you should change the lyrics because it’s too dark.” So, I changed the lyrics on the second day of recording.

――Was the lyrics that dark?

Asaka: So dark that I got worried [laughs]. I didn’t now much about TOKYO SYOKI SYODO before I joined, but when I saw the lyrics, it made me think that they’ve been through some ridiculously rough times. I thought it was better for the band to start shifting to positive mindset from a listener’s point of view. So, I had the lyrics changed.

――So, you’re open to opinions from a new member.

Shiita: If someone I hate tells me something like that, I would be like, “Huh? Who the hell you think you are?” But if it’s an opinion from a member I like, I’m like, “OK! OK!”

Mare: I really love the first verse of “Haru.” We changed the melody as well during recording, and it turned out sounding more vibrant. Shiina’s color came alive in it.

Asaka: Mare’s guitar was amazing. Especially the interlude and outro were incredibly good—I was so moved by her guitar sound that it almost made me cry.

TOKYO SYOKI SYODO “Spring”

――Your live shows are always incredibly amazing and draw me in, and I think the most alluring thing about the band is how great the melodies and the songs are. Musically speaking, what’s the prominent influence that is reflected in your music?

Shiina: I listen to recent bands like YOASOBI, but I think I mostly listen to Kayokyoku (Japanese traditional pop music) or old music. I like the kind of music that has been around for over decades, especially the ones in textbooks.

――You guys play Doji Morita’s “Bokutachi no Shippai” when closing the show.

Shiina: You see, Japanese people like emotional music—Like Doji Morita’s songs, as well as for example, Chatmonchy’s “Somaru Yo,” Keisuke Kuwata’s “Shiroi Koibitotachi (White Love,)” and Kiyoshiro [Imawano]’s “Slow Ballad.” I probably like ballads myself [laughs]. But it’s easier for me to write rock music—because with ballads, they need to be written based on real experiences and I have to really put my bona fide feelings into them.

――So, what is TOKYO SYOKI SYODO’s future dream?

Shiina: Someday, in the summer, I want to do a show at Hibiya Noon. It’s because Mare was talking about it. And that made me want to do a solo live show there.

Mare: I saw a video of THE BLUE HEARTS playing live there, and it was insanely epic.

――How about you, Nao?

Nao: I want to be able to live off our music. Also, I want to play at festivals with my favorite artists like UVERworld.

Asaka: I just came up with a dream now from hearing you guys speak—I want to play at Hibiya Noon in Tokyo, and since I lived in Osaka, I also want to play at Osaka Castle Band Shell! [laughs].

――Do you have a goal image of the band?

Shiina: I don’t want to think too much further, but you know, there aren’t that many girl bands that last for a long time. For some reason, they all quit while they’re still young. So, I want to establish our own brand of TOKYO SYOKI SYODO. I want to continue the band with how we would look as we age and the music adapting to our age.

TOKYO SYOKI SYODO
Formed in April 2018. Debuted with the 1st ‘ED’ Virgin Suicide in April 2019. In November of the same year, they dropped their 1st album, SWEET 17 MONSTERS. In April 2020, they released their 2nd ‘ED’ LOVE&POP. After the tour of the record, their former bassist left the band. In November of the same year, a new bassist signed in to join the band; they were able to take a fresh start with the band members newly consisted of Shiina (Vo. & Gt.), Mare (Gt.), Asaka (Ba.), Nao (Dr.)
Instgram：@tokyo_syoki_syodo
Twiiter：@tk_syoki_syodo
http://www..tokyosyokisyodo.jp/

Photography Shinpo Kimura

The post Girls Band Titillated by Ging Nang Boyz, TOKYO SYOKI SYODO—Their Current Location After Running All the Way Through the Pandemic with Their “Initial Impulse” Wide Open appeared first on TOKION - Cutting edge culture and fashion information.