hey there!
so this is my first post on this blog - i'll be using this to document my longer translations that won't fit into twitter as easily!
starting right off the bat with the coveted (now deleted) Shinya MTV 2017 interview!
this interview focuses on shinya's solo project, SERAPH, and he also talks about many other musicians that inspired him, such as Kami from MALICE MIZER! ^o^
this was a very long and very ambitious article to start off on, so i'd like to extend HUGE thanks to @peachyrinfloflo and @nottrising on twitter for helping me out big time on this one! ^o^
you can also find @peachyrinfloflo 's own translation blog over at: https://yakuwarui.tumblr.com/
they post a lot of translated visual-kei and dir en grey goodies, so please take a look!
thanks so much for reading, and feel free to let me know your thoughts either in the comments here or over at my twitter, @byou_shin !
well then well then,
2017-07-13
DIR EN GREY’s drummer Shinya launches his first solo project, ‘SERAPH’. We carried out the first exclusive interview with Shinya!
DIR EN GREY’s drummer, Shinya, has launched his first ever solo project. With a background of influence from bands and artists with strong classical elements, Shinya, who has a personality often described as ‘angelic’, has blossomed as a melody maker. Although their existence is yet concealed by mystery, together with the proclaimed ‘genius’ Moa, a fantastical, beautiful and catchy melody that stands out has been born, and is by no exaggeration a monument to the ‘Visual Kei’ movement. It will be loved not only by rock listeners but also by people in a wide range of fields for a long time. Shinya, usually a person of few words, spoke with us freely about his commitment to music production, and his passion for SERAPH, which he considers as a long-term solo project.
‘The main premise was to combine drums and piano, but I thought I would try to add a singer too.’
- Your first work for your solo project SERAPH has finally been released. For how long have you been thinking about doing a solo project?
It's been over a decade since I've wanted to do a solo project. There were a lot of things I wanted to do back then, though.
-Within all of the ideas you had, the first one to take form was SERAPH, right?
SERAPH was the easiest to make happen. Well, no... Actually it wasn't easy at all. (Laughter)
-As of right now, there are two official members - Shinya (Drums) and Moa (Piano & Vocal). How did you meet Moa, and how did you approach her about becoming a member of SERAPH?
I’ve known her for quite a while, but she’s a person who does great work. When I started SERAPH, The main premise was to combine drums and piano, but I thought I would try it in the form of adding a singer too. So, I got in touch with Moa to join as a pianist.
-Does Moa also do other work outside of being a pianist?
That’s right. She does a lot of different work.
-Why did you decide to compose with a basis of piano and drums?
Originally, it was because of the songs that MALICE MIZER performed live - Gackt and Kami performed a drum and piano concerto of the songs ‘Regret’ and ‘Hamon’.
-Those songs are truly legendary, aren't they?
They really impacted me. I wanted to add singing into songs like this.
-Could you tell us a bit more about which parts of ’Regret’ and ‘Hamon’ impacted you?
I think it’s because it's as if Gackt and Kami are fighting together, while fighting against each other.
-You’ve mentioned you like MALICE MIZER and respect Kami as a drummer, but what part about him exactly did you find appealing?
The way his drums can ‘sing’. I think it’s something unique to him. Who else could do that?
-It seems like you met Kami in real life too.
Yes. I have a great impression of him from when I met him. Back then, MALICE MIZER were at the top of the Visual Kei genre, and although I was still in my old band before DIR EN GREY, by chance, we ended up at the same after party once. I had always liked and listened to MALICE MIZER, so I asked Kami a lot of questions like ‘How did you play that phrase?’ but… it was amazing, honestly, even to just some newbie like me, he said ‘Oh, that part? It goes like this!’ and so on, and explained it all so passionately. I was really moved.
-While MALICE MIZER were certainly top of the line in terms of their approach, there wasn’t a band implementing piano and drum concertos before them. For you personally, did you feel like you wanted to inherit the combination of Visual Kei and Classical music that MALICE MIZER pioneered?
Yes, I definitely felt that way. I also took a lot of inspiration from artists that had their beginnings in classical music like YOSHIKI and SUGIZO.
-While you’re known to have a wide circle of friends, have you asked any other artists to listen to those two songs too?
I have. I asked HYDE and SUGIZO to listen to them before. They both said they liked the songs. Mana also complimented it and said "I like how clear they sound”.
I searched for around 1 year, and countless people auditioned, but in the end there was nobody who could exceed Moa.
-Was Moa previously active as a singer?
No, that’s not the case.
-What circumstances lead to Moa singing?
Fundamentally, when creating songs, firstly I’d create most of the song and then give it to Moa, but Moa is a genius. She even thinks of the orchestration. So, at first she put placeholder vocals into the melodies I had sent her. From there, I started looking for a new singer. I searched for around 1 year, and countless people auditioned, but in the end there was nobody who could exceed Moa.
-So you couldn't find anyone besides Moa who fit your image of SERAPH's singer?
Yes, it ended up that way. Moa is actually really devoted to piano, and was very reluctant to sing, but after a year of searching and not finding anyone, Moa ended up trying it and becoming a piano vocalist.
- On that note, what genre of musicians came to the auditions? Were there people from the classic music field?
There were people from lots of different genres. Although there weren’t any classical musicians, there were rock, R&B, and Gospel singers.
-Because the lyrics are all in English. The bar must have been really high.
Yes, to match SERAPH’s image, I was looking for someone that could sing in English, but it seems like there aren’t many who can in Japan. (Laughter)
-I think that SERAPH’s songs are quite difficult. It’s a classical song, that’s basically all in falsetto, but the melody isn’t in the style of opera, and it’s also not quite the same style as a musical number either.
That’s true.
SERAPH’s Concept
-The fantastical lyrics are also quite impressive.
SERAPH’s concept was originally ‘an angel from heaven speaking to humans down below’, and I wrote the lyrics expanding on that theme. Because the name SERAPH also means the highest rank of angels.
- What drew you to the outlook of ‘an angel from heaven speaking to humans down below’?
To put it simply, I just like that kind of world. It’s more fantastical than the human world.
-Prior to meeting Moa, had you already decided on the name ‘SERAPH’?
Yes, that’s right. Since my high school days, I thought that whenever I was able to do any kind of solo project, I wanted to name it ‘SERAPH’. The word ‘SERAPH’ isn’t so well-known, right? I’ve been holding on to this idea for over 10 years, and during that time I was hoping that the word ‘SERAPH’ wouldn’t become too popular. So that it wouldn't be used somewhere and become famous before I could use it. [Laughs]
-You certainly thought deeply about it. [Laughs] Did you also try not to use the word yourself either?
Certainly. [Laughs] However, around 1-2 years ago, the anime ‘Seraph of the End’ ended up becoming quite popular. [Laughs]
'I feel that I finally put ‘my own melody’ out into the world.'
-Which song did you write first?
That would be “Génesi”. It means ‘GENESIS’ in Greek.
-Did you start working on the song after Moa was decided to be the pianist?
Yes, after Moa was chosen as the pianist, we wanted to make a song that would represent us, and say ‘This is “SERAPH”’. Usually, I write a lot of songs, so I have a lot of stock, but it took around two months until I was able to see the full picture and decide ‘this is it!’.
-I imagine you were very busy touring with DIR EN GREY, did you write it in your spare moments while doing that?
Yes, that’s right. Whenever I could find a moment.
-For your songwriting process, do you start with chords and add rhythm?
First is melody. In DIR EN GREY, I don’t make the melodies, so the method of songwriting is a bit different.
-In what order do the songs come to light?
The order is something like melody, chords, other melodies that will become a motif, and then drums. Because the drums are in my head the whole time, I can compose them very naturally.
-The order is different to rock music, isn’t it.
Yes, it is. In rock, you start with guitars, and then everything else.
- There are a lot of entangling sounds, and the strings are beautiful, which makes it such a fantastical and mysterious song. It’s not a simple composition, but it’s not as if it’s complicated either, and I was very impressed to think that you made a 5-minute pop song. The catchy melody that makes you want to hum it is also quite impressive.
That’s right. It’s not the normal run-of-the-mill pop song, I made an effort to make it feel different. I feel that I finally put ‘my own melody’ out into the world.
-Do you not personally put an emphasis on melody in your songs in DIR EN GREY?
Ah, in the case of DIR EN GREY, the arrangement is arranged again and again, and eventually it gets to a point that the original song no longer remains. [Laughs]
-"Destino" is an ephemeral and beautiful song that starts with a magnificent opening, isn’t it?
This is Moa’s song, but it seems that it was one of the songs that was already in her repertoire.. Apparently, she had composed it to be in 4/4, but we decided to change it to use this kind of drumming instead.
-Both songs’ lyrics are credited to Moa, but was the original concept created by you?
It’s different for “Genesi”. Moa wrote the lyrics to match the concept of the song. Originally, I thought that I should leave the lyrics for the singer to think about, but then Moa became our singer. So I had Moa write the lyrics, and I was moved that she was able to write lyrics that matched my own tastes and feeling so closely.
-The key of the song is very high, and often leans into falsetto. If this was sung in a chest voice, the feeling of the song would be completely different, wouldn’t it?
That’s true. I tried changing it to various different keys, and thought about which one sounded best, but the higher key felt much more emotional, so I went with that.
-At what point did you start recording?
Around the end of last year. During the year-end holiday from DIR EN GREY, I recorded two songs in one day. At the demo stage, there were around 10 songs, and everything except drums was in a complete package. Then, ‘Génesi’ and ‘Destino’ were decided to be used in the film ‘Reigan Tantei Quartet’, and then I recorded the drums. At the same time, I also recorded live violins, as well as flute.
-I see. Do you feel that you were able to bring anything back to DIR EN GREY that you learned from recording and composing for Seraph?
Ah, that’s true. With a solo project, you have to do everything yourself, so trying it for myself I realized for the first time that there are a lot of people helping out in DIR EN GREY.
In charge of music in the movie ‘Reigan Tantei Quartet’
-In the movie ‘Reigan Tantei Quartet’, ‘Génesi’ is used as the theme song, and ‘Destino’ is the opening song, isn’t it?
Yes, it is. I also composed the songs that play during the movie. Each theme was decided based on the scene, like a scene during an investigation, or a scene like the reveal of the culprit, et cetera.
-Do you mean that you made songs by taking inspiration from the film?
That’s right. To match the scale.
-Which scene’s music do you think you would like people to focus on?
The last scene when the culprit is revealed, and there’s a scene called ‘applying lipstick’, so that one too.
- It seems like the movie has some interesting plot points, especially for music lovers, like the concept of discovering a corpse in the music room. ?
That’s right. Because it’s a story about bands.
-Do you have plans to make a soundtrack for ‘Reigan Tantei Quartet’?
No, I’m not thinking about it.
-Well then, it seems like there’s no other way to listen to the music than to go and see the film.
-That’s right.
'Each song has a different country as its theme. ‘Génesi’ is Greece, and ‘Destino’ is Italy.'
-When information on SERAPH was first unveiled, the promotional photo of your upper body nude was quite a shock, but also very beautiful. Were you inspired by European paintings?
No, instead of that, it’s more like the feeling of ‘being born’. That’s what I want to convey with ‘Genesi’.
-I see. I’ve watched the trailer video, but are you going to release a MV too?
Yes, it’s completed. It’s going to be a lyric video.
-How did you feel about filming in the woods?
The filming was… really cold. Because I was walking around inside the mountains barefoot. The pressure points on my feet are very weak, so it really hurts if the ground is even a little bit rough. The anguish showed on my face while I endured it. [Laughs]
- [Laughs] On that note, which forest was this?
It’s just a forest. I took the director all the way to Ireland, though.
-Who was the director of this video?
It was by Ken Nikai (二階健). He’s a director I’ve admired for a long time. He worked on SUGIZO’s ‘Soundtrack’, and ‘Kagen no Tsuki ~Last Quarter~’ as well as HYDE’s solo projects and the ‘HALLOWEEN JUNKIE ORCHESTRA’ PV. Working with Nikai was my dream, so I was very happy.
-I’m looking forward to seeing the completed MV! Will the lyric video also include Japanese lyrics?
Yes, Japanese lyrics will also make an appearance.
-I see. Musicality, a fantastical world, and visuals. SERAPH’s work seems to almost be able to become a film production, doesn’t it?
Personally, I would really love to make that. Each song has a different country as its theme. Like how ‘Génesi’ is Greece, and ‘Destino’ is Italy.
-Wouldn’t it be amazing if you could film in many different countries… Well then, "Génesi" was distributed on iTunes in 111 countries around the world on July 5, but it seems that the debut single CD & DVD "Génesi" will be released on August 18. What kind of content is included?
The CD contains an orchestra version without drums, as well as an instrumental version. I think I'd like people to relax while listening to it, or something like that.
-As a drummer, it must be new to have a version without drums. [Laughs]
[Laughs] When there's a rhythm, don't you want to join in? So I want to just lay back and listen to it too. In that case, I want people to listen to the tune the instruments will play when there's no melody. I definitely don't mean that I want people to sing it at karaoke.
-There aren't many full-fledged classical works within the scene so far, and you wanted to convey how interesting changing your perspective can be, is that right?
Yes, that’s right.
-What kind of content is included in the bonus special clip?
There’s the ‘making of’ our lyric video. Also the scenes from the recording and the cast greetings from the movie premiere are also included.
-The physical release is only available via mail-order, isn’t it?
Yes, it's very limited. If you apply after becoming a member of Shinya Channel, you will definitely be able to buy it. These days, only core fans buy CDs, right? Because of that, I made this for the core fans. [Laughs]
-The things that Shinya wants you to listen to more deeply are those that are only on the CD, aren’t they? The content of the blog on Shinya Channel is very interesting, so definitely take this opportunity to join.
With a full orchestra, I’d like to perform not at a livehouse, but at a classical concert hall. I’d also like to perform in a church…
-You mentioned earlier that you had around 10 other songs packaged, but do you have plans for any more releases after ‘Génesi’?
No, as of right now, I shouldn't release them before they're ready.
-As you grow older, gradually loud sounds will start to hurt your ears, won’t they? When you started working on SERAPH, were you conscious of the fact that you can continue to listen to classical music for the rest of your life? Kind of like playing it safe as a long-term project of yours?
Ah, I’ve been thinking about that for a long time, and it’s as you say.
-Not to dig into your musical background a bit more, but it’s surprising that Shinya also likes classical music. Do you have a particular artist you like?
My favourite is Chopin.
-How about Debussy?
Gackt played some Debussy, so from there I came to like it.
-You’re referencing ‘Pour le Piano’ and ‘Prelude’, right? Have you been to any classical concerts?
I haven’t been to many. Mostly just YOSHIKI CLASSICAL.
-It was amazing, wasn’t it. When you saw the concert, how did you feel?
Ah, I felt like ‘when I can do a concert as SERAPH, I want to do it like that’.
-I see, with an orchestra. What kind of vision do you have for SERAPH’s ideal performance?
Well, that would be with a full orchestra. I’d like to perform not at a livehouse, but at a classical concert hall. I’d also like to perform in a church… but that’s impossible, isn’t it.
-I don’t think it’s impossible! [Laughs]
But then doesn't it become about just how much it costs for a full orchestra? [Laughs]
-Well, if you could gain the cooperation of a music university’s orchestra, I could see it happening…
So, I thought that I would like to do it with a quartet of at least 4 people. In the first place, it's a grand piano and my full set of drums, so it's hard to do a live performance just with us [laughs]. So I haven't thought about it so far.
-Have you thought about changing your drum set specifications for SERAPH?
Yes. Fundamentally, I’m picky about using my own full set of drums, so...
-What kind of people do you want to listen to SERAPH? It's not music that just resonates with visual kei, and I think it's a work that should be listened to by a wide range of people.
That’s true.For example, I want people who aren't into bands to listen to us, like how when actors from different genres come together as lead roles in a movie. I want to bring Seraph to lots of different genres for different people to enjoy. Well, I want SERAPH to take flight across the world. My project from a long time ago has finally taken shape, so just that is enough for me, but the lyrics have a strong message that appeals to people, so I hope they will reach as many people as possible.
Text&Interview Kaoru Sugiura
SERAPH
1st SINGLE
『Génesi』
2017.8.18 RELEASE
[DISC 1 : CD]
01. Génesi
02. Génesi {Instrumental Version}
03. Génesi {Orchestra Version}
[DISC 2 : DVD]
01. Génesi {Lyric Video}
02. Special Clip
2 Disc set (CD＋DVD) SRPH-001～002 ￥2,400＋Tax
Manufactured by sun-krad Co., Ltd.
Distributed by sun-krad Co., Ltd.
