Interview with KISAKI

日本語ENGLISHInterview by VijuttokeSNS & INFO
KISAKI様、この度はインタビューを受けて下さり有難う御座います!


紹介とラベルの物。

  • 少年時代、どのアーティストを一番尊敬していましたか。

    バンドではX JAPAN、あとは徳永英明REBECCAを始め当時流行っていたJ-POPが好きでした。

  • 音楽を作る上で影響を受けたアーティストを教えて下さい。

    ずっと変わらずYOSHIKIさん(X JAPAN)か坂本龍一ですね。

  • SCARE CROWのSTAFFをされていましたが、 どのような出会いだったのでしょうか?

    たまたま、ライブの対バンで見たんですがすごい衝撃でアーティスティックでプログレ的なダークで美しい世界観に魅了されました。フライヤーを見たらSTAFF募集と書いていたので速攻コンタクトをとって高校3年間はずっと頑張ってました。

  • 現在もSCARE CROWのメンバーとは連絡を取られていますか?

    VoのいずみさんはPhantasmagoriaを見に来て下さいました。現在は取っていないです。

  • KISAKIさんのキャリアの中で一番落ち込まれた事は何ですか? すべてを諦めたいと思った事はありますか?

    何度もメンバーに辞められた事かな(苦笑)毎回孤独感と精神を維持するのが大変で辞めようと思ったことも何度もあります。 まぁ俺が悪いんだと思いますけど。

  • KISAKIさんのキャリアの中で最大のポイントはどこでしょうか?

    やっぱり、DIR EN GREY)と出会ってLa:Sadie’sを結成した事です。

  • バンドマンになる事で最も難しい点は何ですか?

    別にないですよ。自分の音楽、バンドを少しでも多くの方に触れてもらえるように色んな方のアドバイスを聞いて自分なりに頑張ればいいと思います。

  • 後悔している事はありますか?そこでやり直したいと思う事はありますか?

    滅茶苦茶あるけど、過去を振り返ってもどうしようもないので書きません。

  • KISAKIさんの音楽に初めて触れる方に、最初に何を聞く事を勧めますか?

    僕個人の音楽ルーツが一番分かりやすいのは「」ですね。

  • KISAKIさんはポピュラーバンドのメンバーでした。La:Sadie’s、MIRAGE、Syndrome、Phantasmagoria。 これらのバンドのそれぞれについて、KISAKIさんが持っていた思い出や反省を教えて下さい。

    全バンド結成して僕のエゴで解散になってしまった事は猛反省してます。思い出は数えきれないくらいありますがたくさんの方に評価してもらい今となっては贅沢な活動が出来ていたんだと思います。CDやVIDEO、DVDも合わせて100タイトルくらい出せました。

  • 凛 -THE END OF CORRUPTION WORLD-はも海外でも大人気です。 このバンドの最高の思い出は何ですか?

    海外で何回か大きいフェスに出れた事です。その時は世界を狙っていたので。だからバンド名前も日本語にしたんです。 あとは自分のやりたい音楽性をメンバーが受け入れて努力してくれた事ですね。

  • Phantasmagoriaの『Glitter』はGUN道 MUSASHIオープニング曲にも使われました! この曲はどのようにしてオープニング曲に選ばれたのでしょうか? 話を聞かせて下さい。

    たまたま、映画の制作会社の知り合いに紹介された感じです。原作者が「ルパン三世」を手掛けていた人なので間違いないと思ったんですけど、全然面白くなくて詐欺にあった気持ちです(笑)

  • 最近、ミラージュのデモテープ「公認海賊版」をリリースしました。これは3つの異なるバージョンでリリースされ、LORELEI Webストアから特定の商品を購入した人に贈られました。 このテープには、Death Maniaのリマスター版であるシークレットトラックが含まれていました。 マティーナ時代からリマスターされたコンテンツをリリースし続けますか? デモテープのリリースを継続する予定ですか?

    続けることはないけどまた出したくなったら発表するかもしれません。

  • 公認海賊版」のジャケットは、ボーカリストのアキラ(MIRAGE、RENAMEなど)がデザインした物でしたが、このカバーを作るまでの経緯を教えて下さい。

    純粋にAKIRAのデザインが好きだから今でも頼んでます。僕の好みを分かってくれてるんですよ。

  • カイリさん(Siva)の誕生日イベントが近づいています。 このライブが配信されない理由は何ですか?

    来てくれた人だけに楽しんでもらいたいプレミアムイベントだからです。でも来れない人が多そうなので配信も考えてるとか、、、

  • 2021.5.15(土) SHIBUYA-REX、カイリ(Siva) BIRTHDAY EVENT 「貴族達の大セッション祭り~特別夜~」、KISAKI (Phantasmagoria~凛)バンド「強行突破撃」がとても素敵なラインナップです! セッションについて少し教えて下さい。

    このセッションはUNDER CODE PRODUCTIONに所属していたカイリ(Siva)のBIRTHDAY EVENTの為だけに作ったセッションバンドなんですがメンバーみんな昔からの友達で楽しく出来そうだなと思って集めました。素晴らしいミュージシャンなので音をあわせるのが楽しみです。

  • ストリーミングライブは国内外でも人気が高いですが、開催を検討されていますか?

    検討はしています。

  • KISAKIさんの(レーベル)音楽のほとんどが配信リリース/配信ライブをされていない事に理由はありますか?

    やっぱりCDで聞いてもらいたいから。配信も一時期はやってましたけどそこの業者とトラブルになってからそこまで興味がなくなりました。UNDER CODE PRODUCTION時代はそれなりにやってましたけど。

  • 過去にKISAKIさんはUNDER CODE PRODUCTIONで自分自身の音楽レーベルを所有していました。 多くのバンドがそのレーベルに参加しました。 どのようにしてバンドをスクリーニングしてレーベルに参加させましたか? 参加を希望するバンドを受け入れましたか?

    自然と集まった感じですよ。紹介から繋がったり昔の友達だったりスカウトはしていないです。

  • 将来、新しいレーベルLORELEI ENTERTAINMENT GROUPで新しいバンドの管理を始めますか?

    しません。

  • レーベルを運営する上で最も難しい点は何ですか?

    話題性を絶やさずに全バンド平等に、バランスをとっていく事。そして勝負に出るタイミングを見極める事でしょうか?

会場への愛情について教えて下さい。

  • 日本の会場チケットシステムは海外とは違うと聞きました。 バンドは会場と契約を結んでいると聞きました。 これについてもう少し説明して頂けますか?

    契約というのはそんなに無いと思いますが、音響、照明、スタッフとの相性があうライブハウスには良く出演していました。海外の事は僕はよく分からないです、、、。

  • 最近、様々なバンドのレア曲50曲を収録したオムニバスリリース「鹿鳴館伝説」をプロデュース、コーディネートしました。 このリリースは、コロナウイルスのライブハウス目黒鹿鳴館をサポートするために販売されましたが、何故このリリースで目黒鹿鳴館をサポートする事にしたのですか? このライブハウスと特別な絆はありますか?

    目黒鹿鳴館は日本を代表する伝統あるライブハウス。絶対なくしてはいけない。この緊急事態に少しでも力になれればと思いやる事にしました。X(X JAPAN)、COLOR、DEAD END、LADIES ROOM、D’ERLANGER、LUNA SEA等を始めシーンに多大な影響を与えたレジェンドバンドがたくさんこのライブハウスから巣立っていった。僕自身も歴代バンド全てでお世話になってきたというのもあります。バンドマンにとっては特別なライブハウスなんですよ。店長のペペさんとは絆は更に深まったと思います。


ビジュアル系について詳しく教えて下さい。

  • 音楽活動を始められたとき、ヴィジュアル系という言葉は浸透していませんでしたが自身ではどんな音楽ジャンルだと思われていましたか?

    ビジュアル系というよりは気合いの入ったバンドマンのあるべき姿だと思っていました。綺麗なのはもちろん激しくて演奏が上手い、そして時には切なく儚い。とても夢のあるジャンルだと今でも思っています。

  • 「ヴィジュアル系」がブームだった頃、人々に認知され続けるために何をしましたか?

    僕はとにかく色んなイベントに出演してインパクトのあるライブをやりまくって来ました。

  • ヴィジュアル系シーンの始まりから今日まで、ヴィジュアル系シーンで最も変化した事は何ですか?

    始まりは俺ごときには分からないですが常に進化していき続けていくんだろうなと思います。

  • ヴィジュアル系の呼称は見た目だけのものと思われますか、それともヴィジュアル系と言う音楽スタイルに進化したと思われますか? 今日でも、バンドは90年代から00年代初頭の音楽から要素をコピーする事がよくあります。 これについてどう思いますか?

    見た目もありますが音楽にもビジュアル系っぽさっていうのはあります。さっきも言いましたが進化はしています。90年代~00年代から影響を受けた人が今現在活躍してると思います。勘違いしてる方々も多いですが。

  • ヴィジュアル系の魅力はどこにあると思われますか?

    視覚的インパクト。


海外での思い出について教えて下さい。

  • Phantasmagoriaは、海外でも演奏しました。 それらのツアーの最高の思い出は何ですか?

    PhantasmagoriaだけなくKISAKI PROJECT、凛-the end of corruption world-でも行きましたが、ツアースタッフの愛、そしてお客さんの熱狂度がすごくて感動しました。海外で会ったみんなの事は絶対忘れません。再会したいな〜。

  • また海外に行く予定はありますか? それが自分自身の余暇のためであろうとバンドパフォーマンスのためであろうと?

    ライブとかの予定はないですが、旅行とか行きたいですね。誰かコロナが落ち着いたら呼んで下さい(笑)


ベースコレクションについて教えて下さい。

  • ベースはいくつありますか、演奏するのに好きなベースは何ですか。 そして、どのベースが最も美しいと思いますか?

    僕はESPのFORESTのボディー、ピックアップ違いのが3本です。プレイヤーによってプレイスタイルが違うので最も美しいというのは分からないです。どのベースにも魅力はあります。


作詞作曲とインスピレーションについて詳しく教えて下さい。

  • 新しい曲を書くためのインスピレーションをどのように得るのですか?

    明確にイメージやコンセプトやイメージをぼんやり考えながらですね。ふと降臨してくるんですよ(笑)

  • 新しい曲を作るプロセスを教えて下さい。 (どんな機材を使っていますか? ピアノやキーボードを使う人もいれば、アコースティックギターや電子/デジタル機器を使う人もいます。)

    今はPro Toolsです。バンドを始めた当時はMTRとかを駆使してました。

  • 歌詞はどうですか? 自身で歌詞を書かれることもありますか?

    書きます。思い入れの強い曲とかは書きたくなります。

  • 作曲される際は歌詞とメロディーどちらが先でしょうか?

    僕はメロディーです。

  • どの曲が最も書きやすかったですか? そして理由も教えて下さい。

    書きやすかった曲はないです。

  • どの曲を書くのが最も難しかったですか? そして、何故これがそうだったのですか?

    全曲難しいですよ。中途半端な曲なんか必要ないですから!!時間のかかり方の差はありますけど。

  • 書いたすべての曲の中で、最も誇りに思っている曲とその理由は何ですか?

    個人的には凛-the end of corruption world-「Dedicate to Graveyard」、KISAKI PROJECT「勿忘草」です。自分が思い描いていた理想通りに仕上がったからです。


いろいろな質問

  • 長い間バンドを管理し、働いてきたのを見て、かなりの数の音楽のコレクションを持っていると思いますか? コレクションの貴重な作品のいくつかは何ですか?

    Xのインディーズ時代のレコード「I’LL KILL YOU」 「オルガスム」かな?レコードやデモテープもたくさんありますけど秘密(笑)最近はROSENFELDのLPを買いました。

  • アニメと漫画も好きですか? それとも、そのサブカルチャーのどれも好きではありませんか?

    アニメも漫画もハマらないようにしています。鬼滅の刃の劇場版は見ましたけど。

  • 周りにはたくさんの新しいバンドがありますが、チェックする事をお勧めするバンドはありますか?

    今現在ビジュアルシーンで活動してるバンドでは「キズ」「RAZOR」「DIAURA」「lynch.」「NUL.」あたりは個人的に好きです。


コロナの状況について話しましょう。

  • コロナは私生活にどのような影響を与えましたか?

    私生活に関して今僕は正式なバンドをやっている訳ではないのでそこまで辛いことはなかったけど、決まっていたライブが延期や中止になった事は残念でした。あとは衛生面での意識は高くなりました。

  • コロナはKISAKIさんのバンドライフにどのような影響を与えましたか? 今日までの最大の苦労は何でしたか?

    どうしようもない事なので、作曲やレコーディングをしています。苦労は無いかな。

  • 逆にコロナはKISAKさんの活動にも良い影響を与えているのでしょうか?

    良くは無いです。


インタビューは終わりました。

  • ファンと読者の皆様へ何かメッセージをお願い致します。

    この度はインタビューして頂きありがとうございました。 JROCK’N’ROLLさんに気にかけて頂き感謝しています。このインタビューで僕の事を知った方は是非聞いてほしいです。そして皆さんに会えるのを楽しみにしてます!!


最後の最後まで来ました! ありがとうございました!  これからの道もよろしくお願いします! !! 応援しています!

KISAKI, thank you very much for taking your time to answer some questions for JRNR.


KISAKI shares some wonderful words, which is an absolute must read for every visual kei fan! Please enjoy it!

Before you continue to read this interview, I’ll love to mention that I’ve also translated the Vijuttoke interview which was published on March 18th! Please read it after you finished reading this one since it reveals some extra need to know info!


◦◦◦◦ Introduction and Label matters ◦◦◦◦

Which artist did you respect the most when you were younger/a child?

I was a big fan of  X JAPAN, Hideaki Tokunaga, REBECCA, and other J-Pop bands that were popular at the time.

Who are some of the artists that have influenced you in making music?

It’s always been YOSHIKI (X JAPAN) and/or Ryuichi Sakamoto.

You started your music career as STAFF for SCARE CROW right? How did you meet them?

When I was in Junior high school I saw them at a live event, and I was totally overwhelmed and fascinated by their artistic, progressive, dark and beautiful worldview. I noticed their flyer, which said that they were looking for staff, so I applied right away for the position and worked hard all through my 3 years of junior high school.

Are you still in touch with the members of SCARE CROW?

Back in the days Vocalist Izumi came to see Phantasmagoria. But currently I am not in touch with him.

What’s your lowest bottle point in your career? Did you ever want to give up everything?

I’ve had members quit on me many times (bitter smile), and I’ve thought about quitting many times because of the loneliness and the difficulty in maintaining my spirit each time. Well, I guess it’s my own fault.

What’s your biggest high point in your career?

After all, I met Kyo (DIR EN GREY) and we formed La:Sadie’s.

What’s the most difficult thing about being a bandman?

It’s not really that difficult. But I guess you should listen to the advice of various people and keep on trying to give your best to touch the hearts of people and to make your band accessible to as many people as possible.

Is there anything you regret or anything you would do differently?

My past is a mess, but I’m not going to write about it because there’s nothing I can do about the past.

For readers who aren’t as familiar with your music, what would you recommend them to listen to first?

The easiest way to understand my personal music roots you gotta check out “LIN“.

You have been in popular bands; La:Sadie’s, Mirage, Syndrome, and Phantasmagoria. Can you tell us a memory or a reflection you have had on each one of these bands?

I regret the fact that all the bands I formed ended up breaking up because of my ego. I have countless memories, but I guess I had the luxury of working with various people who appreciated my work. I was able to release about 100 titles of CDs, videos and DVDs.

凛 -THE END OF CORRUPTION WORLD- is also very popular overseas. What’s your best memory of this band?

With LIN, I was able to participate in several big festivals overseas. Since we were aiming to be known around the world at that time,  I wanted a name who felt Japanese that’s why I changed the band name into a Japanese name. Another thing was that the band members accepted the kind of music I wanted to do so we could make a good effort.

The song 『Glitter』of Phantasmagoria  was used as a GUN道 MUSASHI opening song! How was this song selected for the opening? Please tell us the story.

I was introduced to an anime production via an  acquaintance of mine at a movie. The original author is the same person who created “Lupin the Third,” so I thought it was going to be a big hit. However after all the series was one big flop, so I felt like I was being scammed (smile).

You’ve recently released a Mirage demo-tape titled, “Kounin Kaizokuban 公認海賊版”, it was released in three different versions and was given to those who bought certain goods from your LORELEI webstore. This tape contained a secret track which was a remastered version of Death Mania. Will you continue to release remastered content from your Matina days? Are you planning on releasing demo-tapes?

For now I don’t feel like to keep releasing more, but if I feel like putting something out again, I may announce it.

The “Kounin Kaizokuban” tape had its jacket designed by vocalist Akira (Ex. Mirage, Masked Rider System, RENAME), what was the process for creating this cover?

I ask AKIRA to design for me, because his designs are always genius. Also he always knows and understands what I desire to receive.

KAIRI’s (Siva) birthday event is coming up. What’s the reason why this live will not be streamed?

It’s a premium event that we want to hold only for those who come to enjoy it. But it looks like there are a lot of people who can’t come due corona, so we’re thinking about streaming it too…

You also appear on KAIRI’s (Siva) birthday event. Your session line-up is wonderful, could you please tell us something more about it?

This session band is only special for the BIRTHDAY EVENT of KAIRI (Siva) who also belonged to UNDER CODE PRODUCTION back in the days.  My session bandmates are all old friends and amazing musicians. I thought it would be fun to play together with them, so I gathered everyone together. I’m looking forward to standing next to them on stage!

Would you even consider streaming lives? They are really popular overseas and also Japanese fans can also watch the performance.

I am considering it.

Is there a reason why most of your (label) music isn’t available for digital download/streaming?

Well mostly I want people to listen to my music on a CD.
In the past I also did distribution for a while, but after I got into trouble with a digital distributor, I lost my interest to continue. I used to distribute music when I was still running my UNDER CODE PRODUCTION label. 

In the past you owned your own music label UNDER CODE PRODUCTION. Many bands joined that label. How did you screen bands to join your label? Did you accept any band who wished to join?

It’s like everyone joined naturally. I didn’t do any scouting, bands joined via a connection of an old friend or were recommended.

Will you start to manage any new band in the future under your new label LORELEI ENTERTAINMENT GROUP?

No.

What’s the most difficult point of running a label?

It’s a matter of balancing all the bands equally without losing the buzz. And you have to know when to play the game.

◦◦◦◦ Please teach us more about the love for venues. ◦◦◦◦

I’ve heard that the Japanese venue ticket system is different than from outside of Japan. I’ve heard that bands had/have a contract with a venue. Could you please explain a little bit more about this?

Contract?…there was none, but I usually performed at live houses where the sound, lighting, and staff were in a good relationship with each other. I don’t know much about how it works overseas…

You recently produced and coordinated the omnibus release, “ROCKMAYKAN”, which contains 50 rare songs from various bands. This release was sold to help support live house Meguro ROCKMAYKAN during the coronavirus, why did you decide to support Meguro ROCKMAYKAN  with this release? Do you have any special bond with this livehouse?

Meguro ROCKMAYKAN is a traditional venue that represents Japan. We definitely should not lose the place. I decided to help out in this emergency situation as much as possible. Many legendary bands such as X (X JAPAN), COLOR, DEAD END, LADIES ROOM, D’ERLANGER, LUNA SEA, etc., which had a great influence on the scene, grew up in this venue. Also those legendary bands that played there before me also took care of me. In all those years it turned into a very special venue for various bandman who grew up there. Also I guess my bond with PEPE, the manager, has grown even deeper now.

◦◦◦◦ Please teach us more about Visual Kei ◦◦◦◦

When you started your musical activities, the word Visual Kei was not widely used, but what kind of music genre did you think of yourself?

Rather than visual kei, I thought it was the ideal form of a bandman with a strong spirit. It was beautiful, but also intense, well played, and sometimes sad and fragile. I still think that visual kei is a very dreamy genre.

When Visual Kei was booming, what did you do to stay recognized by people?

To keep playing on various events and to leave some strong impressions behind.

From the start of the Visual Kei scene until today, what changed the most in the Visual Kei scene?

I don’t know how it all started, but I’m sure it will continue to evolve.

Do you think Visual Kei is only about appearance or do you also believe that Visual Kei developed into a style of music too? Even nowadays bands copy often elements out of music from the ‘90s and early ‘00. How do you feel about this?

There is a visual-kei feel into the music as well as the appearance. As I said before, evolution is taking place. Lot’s of bandman who were influenced by the 90’s and 00’s are active today. Currently there are many people who misunderstand this.

What’s the most fun about Visual Kei, that you keep going in this scene?

The visual impact.

◦◦◦◦ Please tell us something more about your overseas memories: ◦◦◦◦

With Phantasmagoria you even performed overseas. What’s your best memory of those tours?

I went not only with Phantasmagoria but also with KISAKI PROJECT and LIN – the end of corruption world- overseas.  I always felt so impressed by the love of the tour staff and the enthusiasm of the audience. I will never forget the people I met overseas. I wish that I could meet everyone again!

Do you ever have plans to go overseas again? Whether it be for your own leisure or for a band performance?

I don’t have any plans for a live concert or anything, but I’d like to go on a trip or something. Someone please call me when Corona is settled (laughs).

◦◦◦◦ Please tell us about your bass collection. ◦◦◦◦

How many basses do you have, what’s your favorite bass to play on. And which bass do you think is most beautiful?

I have three ESP FOREST basses and three different pickups. I don’t know which one the most beautiful type is because each bass has a different play style. Also every bass has its own charm.

◦◦◦◦ Please tell us more about song writing and inspiration.◦◦◦◦

How do you get inspiration for writing a new song?

I’ll be vaguely thinking of a clear image, concept, or image. Then it suddenly comes down to me naturally (laughs).

What is the process of how you create a new song? What equipment do you use? Some people use a piano or keyboard, while others use acoustic guitars or electronic/digital equipment.

I’m using Pro Tools now. When I started my career, I used MTR etc.

What about lyrics? Did you also write lyrics yourself?

Yes I do write lyrics. I love to write lyrics which include my own strong feelings.

What’s written first? The melody or lyrics?

I write the melody first.

Which song was most easy to compose? And why was this so?

I didn’t write any song which was easy to compose.

Which song was most difficult to compose? And why was this so?

All the songs I’ve composed are difficult in their own way. Also there’s no need for half-baked songs! However there is a difference in how long it takes to write a song, though.

Of all the songs you wrote, which song are you most proud of and why?

Personally, I would say; LIN -the end of corruption world-「Dedicate to Graveyard」 and KISAKI PROJECT 「勿忘草」. The reason is that they were finished according to the ideal I had in my mind.

◦◦◦◦ Various questions ◦◦◦◦

Seeing that you have managed and worked with bands for so long, one would assume you have a sizable collection of music? What are some of your prized pieces of your collection?

I do own some indie era records of X’s such as 「I’LL KILL YOU」 and「オルガスム」. Of course I have a lot of records and demo tapes around, but from who they’re is top secret (laughs). But recently I bought the new LP of ROSENFELD.

Do you also like Anime/Manga? Or do you not like anything of that subculture?

I’m not into anime or manga. But I’ve seen the movie version of Demon Slayer: Kimetsu no Yaiba, though.

Are there any new bands you recommend to listen to?

I personally like 「キズ」「RAZOR」「DIAURA」「lynch.」「NUL.」that are all bands who are currently active in the visual kei scene. 

◦◦◦◦ Let’s talk about the corona situation. ◦◦◦◦

How has corona affected you in your personal life?

As for my personal life it hasn’t been that hard, also because I’m not officially in a band at the moment it doesn’t really affect me, but I was disappointed that some of the gigs I had planned were postponed or cancelled. I also became more conscious about hygiene.

How has corona affected you in your bandlife? What are/were the biggest struggles until today?

It’s something which can’t be helped, so currently I’m composing and recording various stuff. So I guess it’s not that bad.

On the other hand, does Corona have a positive impact on KISAKI activities?

Not at all.

We came to an end. Please give a message to your fans and readers.

Thank you very much for this interview. I appreciate that JROCK’N’ROLL cares about me. If you’ve heard about me through this interview, please let me know. And I’m looking forward to meeting you all!

日本語版はこちら

TEXT : TOMONORI NAGASAWA
TRANSLATION: JROCK’N’ROLL
PHOTOGRAPHER : AKIO YOKOYAMA(Better-things)
HAIR MAKE : A・DO
HAIR MAINTENANCE : hiko(UNDIVIDE)


A few weeks before JRNR interview was published Vijuttoke published also an interview with KISAKI which is also a MUST read. also has translate the interview specially for KISAKI’s global fans! Please enjoy this amazing interview too.

This interview has been published with the permission by Vijuttoke and KISAKI.
If you wish to repost this interview, please contact me beforehand!


 Which future path will KISAKI draw?

KISAKI – Photo sent by Vijuttoke

Last year, as part of Meguro ROCKMAYKAN’s 40th anniversary and relief project, KISAKI produced a special compilation album, “ROCKMAYKAN Densetsu“, which contains tracks of 50 bands who created the「visual kei scene」back in the 90s. On March 10, 2021 (On KISAKI’s birthday), LIN – Chapter 2 – ANOTHER BEST ALBUM「Chasing Shadow」 was released. On May 15, KISAKI will perform at “KAIRI’s (Siva) BIRTHDAY EVENT 「Kizokutachi no Dai SESSION Matsuri ~Tokubetsu Yoru~」 (貴族達の大セッション祭り~特別夜~) at Shibuya REX. Beside this amazing recent activity, what is actually the reason why KISAKI appears on the cover of Vijuttoke? Also, KISAKI’s current activities are all an action towards shaping his future. Anyway, what kind of path will Kisaki take, what are his next plans? Let’s figure it out! 


— KISAKI last year, the event you were going to perform at was cancelled. Would you say you were greatly affected by the Corona disaster?

There have been times when I’ve had to postpone or cancel a gig that had been scheduled, but I’m not in a permanent band, and I wasn’t the organizer, so to be honest, I didn’t have to deal with as much, while it gave huge pressure on other bands. 

Earlier that year I was more busy battling my “colon disease”. Also, I was planning to start preparing for my activities for March, which I would start after my hospital departure, but then I fell into the situation we all fell down into. 

Last year and also this year, I’ve had fewer opportunities to meet people. Since I don’t do a lot of public activities myself, the time when the state of emergency was declared It didn’t have that much of a negative impact on me. 

However, I have felt that the people around me who are involved in music are getting more and more mentally overwhelmed by the onslaught of Corona. So I asked myself what I could do, and I cooperated with the “Meguro ROCKMAYKAN 40th Anniversary & Relief Project“, and I also supported and cooperated with the crowdfunding program of Arm Enterprise, which produces live houses affiliated with “Shibuya REX, HOLIDAY NEXT NAGOYA, OSAKA MUSE and Osaka BIG CAT”. I have mainly focused on those activities through the form of support.

— As part of the Meguro ROCKMAYKAN 40th Anniversary & Relief Project, you produced the special compilation album “ROCKMAYKAN Densetsu“, which contains sound recordings from 50 bands that were a big hit in the 90s visual kei scene.

The CD was an instant sell-out, I guess? For a long time I’ve thought that an omnibus CD of all the bands that were active in the 1990s is necessary to tell the history of Visual-kei. However, until now, no one has done it. So I thought “Then I’ll do it!”. 

That opportunity coincided with the 40th anniversary of Meguro ROCKMAYKAN and the Relief Project. I produced the omnibus with a clear concept in my mind:「only bands that had performed on the Meguro ROCKMAYKAN stage in the 90s」. 

I guess we could say that it’s a fact that this feeling was conveyed and also led to this successful result. Also by creating this omnibus my bond with the owner PEPE became more strong! Although it wasn’t easy to produce all of the bands on it, I managed to do it!

— What about new band activities? Do you have any particular intention to form a new band again?

Not unless I meet someone very fateful, and I don’t feel the need to find such person(s) right now or even to start a band at this point. 

Rather than that, I think it’s better to work with various artists who match the vibe of the songs I create, while they sing and/or perform them. Also I guess it’s possible to release a CD or perform lives in that way. It’s the same for the gigs I am invited to. I enjoy playing and creating music that fits the style of the members and purpose of the event. That’s the main reason why I’m not thinking about starting a band with fixed members at the moment. 

— LIN, KISAKI’s (currently) last band, will release a best-of album “LIN (Chapter 2) ANOTHER BEST ALBUM “Chasing Shadow”” on March 10, KISAKI’s birthday, five years after their breakup. What caught my attention was the title, “Chasing Shadow”. Is it alright to think of it as “a chasing shadow“?

The title implies that I don’t want people to forget about LIN’s existence. I know some of you may be asking, “Why LIN, after all this time?!” and “Why LIN now?!”. It has been five years since the break up, so that’s actually already a milestone for us. Also when I’m listening to the songs right now, they still do touch my heart. Also in addition, we still had a bunch of songs which were not recorded yet. I thought it would be important to keep those songs in shape, so I selected songs that do not overlap with the LIN MEMORIAL BEST BOX “the end of corruption world” which was released before our break up, that one also included four valuable live tracks.

This time I included the demo version of “for lapis…”  as a bonus track. 
“for lapis…“, just as the title suggests, it’s a demo track. It’s a song which I wrote after the decision was made to “break up,” so inside this song there are lots of strong feelings, also I really wanted to keep it as it is in this (demo) shape, just like the lyrics are, which describe how I felt at the time and my own message to our fans.   

— LIN was a very important part of your life right?

Of course, also all the other bands I’ve played in the past always were serious band work for me and I’ve always risked my life for them. 

LIN was a band that concentrated the musicality that I had cultivated through my band activities and continued to express it as if it were a culmination. That’s why it was a band that I was particularly attached to.

— The kind of music that LIN was expressing was “this is the real Visual Kei style“. As I listened to the best of the best albums, I kept thinking that I wanted people today to know this kind of music.

LIN is one of the bands where you can notice my full musical roots. Also in the current scene there aren’t any bands who are doing this type of music, like LIN’s, and even until today I guess that’s why people still find it refreshing. That’s also a reason why I want to continue to preserve the music of LIN in this way. 

— On May 15th, “KAIRI’s (Siva) BIRTHDAY EVENT 「Kizokutachi no Dai SESSION Matsuri ~Tokubetsu Yoru~」 (貴族達の大セッション祭り~特別夜~) at Shibuya REX will be held.And on this event KISAKI will make a guest appearance with limited session band. On this day,  band members who belonged to UNDER CODE PRODUCTION, (the label that KISAKI has been working for 10 years), will not only get together to play in several session bands, but also play various covers of the songs of the bands belonging to UNDER CODE PRODUCTION. This project was born from the desire of the members of the bands that graduated from UNDER CODE PRODUCTION and the people who still love the bands and songs that were active in UNDER CODE PRODUCTION.  “We wish to enjoy the UNDER CODE PRODUCTION songs live“. It’s an event born from the desire to “enjoy UNDER CODE PRODUCTION songs live“. I think it’s also a great achievement that KISAKI’s progress continues to be recognized in this way.

That’s also how I also feel about it, the ten years that I walked around with UNDER CODE PRODUCTION and the existence of my other label “Matina”, were very impactful. I really felt happy that my band friends who always did their best for me said “We want to hold a session event with UNDER CODE PRODUCTION as the core, also we wish that you also will participate.”  So I gladly answered with “I will. Everyone who enjoyed bands belonging to UNDER CODE PRODUCTION will definitely enjoy this event.

— Would you say that you have always been conscious of being active in the music scene throughout your career?

I haven’t thought of it like that really (laughs). I’ve been told that I’m a retirement fraud/scam…but I simply just want to have goals that I’m able to reach as a musician. It’s been 28 years since I first started playing in a band, and in two years we’ll be celebrating my 30th anniversary, so I’m determined to do everything I can to make it to that year. After that, we should continue with the energy that we found when we finished my 30th anniversary. There are many people in the world who say “KISAKI is over”, but I’m sure I’ll make some decisions with a huge surprising bang not far from now.

KISAKI, you wouldn’t consider yourself a “person of the past”, right?

That’s right. Of course, I don’t intend to do activities that match the current scene, but I will continue to pursue the music that I really want to put out, and this attitude has never changed, not in the past, not now, and not in the future. However, I have seen many people who left the music scene in the middle of their ambitions due to the corona epidemic that prevailed from last year to this year. I don’t know when I will be deprived of all my current activities. That’s why I want to live my life with no regrets at all times.

— Rather, because you are on the cover of Vijuttoke, many people are wondering, “What will KISAKI’s future steps be? I’m sure many people have some expectations for your future activities.

I hope that everyone will have high expectations for me. One of the reasons why Vijuttoke chose me for the cover this time was because of the release of LIN’s best album. More than that, I think it also includes the editor-in-chief’s feeling that he expects KISAKI’s activities in the future and I really do appreciate that. It can take a long time before I make any concrete announcements, but I will be making various moves toward the 30th anniversary of my band’s activities, and I will try to stir up or revitalize the current visual scene as much as I can.

— Will we be able to see that announcement around the time of your appearance at the May 15th event?

As for this year, I don’t think there will be many public activities yet. Right now, I’m steadily working under the hood for the activities of the anniversary year from 2022 to 2023.  Even before that, since I’ve come out to make a declaration like this, I’ll be putting forth various announcements. It’s still difficult to enjoy live performances with everyone in the same way as before. By the time we get over the current situation, we should be able to interact with each other in the same way as before. Please look forward to that time.


NOTE: 2023 is KISAKI’s 30th anniversary.

KISAKI – Photo sent by Vijuttoke

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KISAKI’s twitter: @KISAKI_OFFICIAL
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Credits:
Photos: All send by KISAKI
Japanese help: 珠城 悠 (Kenshin)
Translated by: Ryu
English grammar/spell check: Katt
Questions 09, 10, 13, 14, 23, 31, 34, 40, 42 by Katt
Special support: vk.gy

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