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kyotakumrau · 4 years

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2020.09.19 ROCK AND READ 091 - interview with utA - translation PART 2/2

And so hati and I left Niigata with very little money, but carrying a guitar and a bass with us, we went to Tokyo.

Interview: Yukinobu Hasegawa Photos: Yosuke Komatsu (ODD JOB LTD.)

Translation: kyotaku You can buy the magazine on amazon, tower records etc ฅ( ̳• ·̫ • ̳ฅ)♡

PART 1 HERE

-- With 40~50k yen you can do a short sightseeing trip to Tokyo (laughing).

utA: Yeah, that's why we got part time jobs soon and started saving, and together with hati we rented a cheap place in a wooden building for about 40k yen. And there our Tokyo life has started.

-- Sounds very Showa style (laughing). Where in Tokyo was it?

(*Showa era, 1926-1989, is often referred as nostalgic old times, retro style; but the house utA and hati lived in was likely an actual Showa building... which are seen as not safe during disasters and thus very cheap to rent)

utA: It was in Komagome. There was no bath, but it was something like a detached house, so for 45k it was super cheap. But it was a considerably old building.

-- But still that's cheap. For a detached house. Was it a stigmatized property by any chance?

utA: Right? But it was cheap, so we thought why not (laughing). The two of us. Even if there's some issue.

-- There's issue with you two (laughing). There were two of you meant to live there, but it would be totally fine if the third unknown occupant appeared suddenly?

utA: Yup (laughing).

-- So you wouldn't be bothered if some floating life form came out?

utA: Yup, no problem at all (laughing). Actually, there was an episode of the ghost visit. You probably won't publish this part of the talk, but it seems like I can actually sense the supernatural. It was when I was writing music when living in that place, I suddenly felt strongly some weird presence behind me, I've been hugged tightly, and when I shouted surprised 'who's it??!' I couldn't see anyone. I thought, ah, someone had passed away in this room at some point. There is really a lot of interesting stories from when we lived in that house (laughing).

-- This is something that must end up in the printed interview for sure.

utA: Seriously?! Won't that be too scary for people who really believe in ghosts? (laughing)

-- Have you encountered many phenomenons like that?

utA: Yes, I have. I could feel many spiritual beings already from before, but there were just a lot, in that place. When hati came back from his part time job I remember telling him 'holy shit someone just grabbed me from behind, we have to move out as soon as possible' (laughing).

-- As you were living in a crazy place like that you have later started a band, it was 9GOATS BLACK OUT, right? It's a bit spooky/ominous band's name, was it because of this?

utA: I guess (laughing). It was crazy living over there, but also very fun. During summertime, the two of us would be bathing in the small garden outside, hati would be taking a shower in the kitchen sink, or sleeping in the oshiire*(laughing). He was a great guy, super funny. With this hati I've done one more band in Tokyo before 9GOATS BLACK OUT. But it only lasted about a month. When looking for a good potential band members, we reached out with invitation to a vocalist ryo from Niigata who done bands like D'elsquel or GULLET. And even as we went to Tokyo to look for band members, we ended up forming a band with 3 guys from Niigata, starting activities in Tokyo. And for that ryo moved to Tokyo.

(*oshiiire is Japanese closet. It's much deeper than Western style closet and has a shelf, you can actually put a single mattress in😆)

-- To that stigmatized/haunted house?

utA: No, no!! (laughing) He actually refused 'I'm not coming to a place like that!' (laughing).

-- ryo was working as a designer then.

utA: Yeah, he was working as a designer in Niigata, but we asked him if he wouldn't quit (laughing). As we could write great songs to make it [in music]. And ryo agreed. Starting the band in Tokyo was like turning over a new leaf. All of us moved to Setagaya ward in Tokyo.

-- Did you choose a stigmatized place again?

utA: It was also an older building, but without any strange situation going on, it was fine (laughing). This time not house sharing, all of us got our own small apartments.

-- 9GOATS BLACK OUT has a very firm image as a very original, strongly idiosyncratic band.

utA: That's definitely true. From when we started activities, the pace of work has never decreased, I think it was a good condition.

-- It was a visual kei band, but musically it had quite a lot from the ambient like elements. You had many very interesting songs.

utA: Yup. Gradually I was leaning more and more to add ambient style to songs. As for why, when we started in Tokyo, in my mid 20s I was increasingly listening to Western artists. Before that I think I wasn't listening to artists outside visual kei, but as I progressively became a better musician I started noticing more and more the greatness of the overseas bands and music. I really got into Radiohead and MUSE, and the songs I was writing got a bit more ambient.

-- Those artists place big importance on the sound of each album.

utA: True. My favourite band now is Radiohead. But at that time I was probably aiming to have a band in a style of MUSE. But our songs were not as rock-ish as MUSE is.

-- MUSE is not only an English rock, their sound is very much arena rock like.

utA: The MUSE now definitely is like that, but I really love their first album 'Showbiz'. Starting from the first song 'Sunburn' there was an amazing ambient, I was probably influenced by that.

-- You got attracted to the clean tones from when you started to play the guitar, so do you like the air surrounding the sound, the pleasant feeling of the ambient style?

utA: That's right. It was with 9GOATS BLACK OUT that we gave shape to songs like that, so musically it was very fulfilling. Speaking of albums, songs were mainly written by me, ryo and hati done 1 or 2 songs each. So with that it's like I kinda run out of song ideas fast (laughing), or I used everything I had [and it wasn't enough]. There was a pattern that with each album I felt I had to open new doors.

-- You included plenty of synthesizer sounds, creating a three-dimensional sound.

utA: I did, yeah. I was exhausted with every song. There were times when I'd write the main part of the song, and after that I would throw it to the drummer or bassist asking them [to finish it]. Creating songs with 9GOATS BLACK OUT was a good learning experience, but I also experienced how it is to use everything you had and look for new doors to open. I had a healthy attitude towards music, but on the other hand it was also harsh.

-- Around 2013 9GOATS BLACK OUT has ceased activity, where did that come from?

utA: We disbanded 5 years after the formation. It was due to the differences between the band members (about music/band direction).

-- Each of you were writing songs, when you followed through did the music production make each of you do some soul searching?

utA: Yeah, it felt like each of us was changing a bit and the gap growing between us was slowly getting closer to reaching the limit. And as a result, we arrived at the point where we didn't agree where to go next as a band. That's why I think at the latter period each of us felt that as a band our demise is nearing.

-- When that came did you start thinking about your next step?

utA: Nope, not at all. This is similar to when I was graduating the high school, I don't think about what's next (laughing). For now let's stop. After that somehow it will work. Like I'll do what I have to. Weirdly optimistic, I didn't know what's ahead. I wasn't planning on quitting music, but I was tired of writing songs, I was thinking of taking a break for 1 or 2 years from that, wanted to do it properly.

-- And then Kyo contacted you?

utA: Yup! I was very grateful, happy and surprised.

-- I heard that Kyo contacted you saying that he has listened to 9GOATS BLACK OUT music and wants that sound?

utA: That's why I was so moved when I heard that. Since I started music I felt I wanted to maintain my own worldview, this hasn't changed even now. I was glad I could continue, really glad. I felt 'even among musicians there's someone who really appreciates [my sound]'. That time Kyo and Takumi already started writing music for sukekiyo, and were at the stage of thinking what to do about other band members.

-- Have you met those two before?

utA: Not really. But I think we played at some big event with RENTRER EN SOI. And I also had a chance to see DIR EN GREY live twice. But we haven't met then, so our first meeting was when we talked about sukekiyo. [It went like] 'it's really an honour, I'm really grateful that you appreciate my music, I'm really looking forward to working together'.

-- Did Kyo had any specific requests?

utA: It's the same now, he told me to do whatever I want. He hasn't changed since then. That's why from the start I had freedom when working. When working on "IMMORTALIS" I could just let out my worldview freely, so I really enjoyed it. But from the next title "VITIUM" I started to wonder what exactly do I want. So for me, the freedom was the reason I started to lose my way. From around "ADORATIO" Kyo might have started to ask us 'what about something like this as a big picture?', but beyond that it was all 'please do whatever you like'. Not only in terms of music, but I'm quite a free spirit, also among band members (laughing). So I'm very grateful to receive such a generous support from Kyo and other members. YUCHI and Takumi, and Mika help to unify my songs. I really have freedom when creating the original melody. I really think I'm blessed to have those people around me. I'm truly thankful that even though I'm such a free spirit they are all people who can understand me and treat me kindly. They are amazing.

-- It's been 7 years since sukekiyo started, is the gratitude only getting stronger?

utA: On one hand it's getting stronger, but as our time together becomes so long there's also a thing it's by now embarrassing to say. It became difficult to say thank you. Especially having all this support from Kyo, I'm just so grateful to him. It feels like he cares so much, for me. If I got it wrong, sorry for assuming (laughing). When I fail, I get pulled in by that thought, I'm not able to do anything including song writing. Having freedom when creating songs, there's no end of ideas, but rencently they came a bit. With the release of "ADORATIO" in 2017 and "INFINITUM" in 2019 I've been thinking about it a lot, what will we do next. sukekiyo is doing quite a lot music wise.

-- So now it's not like you get influenced by something so you can write?

utA: That is rapidly going away.

-- But for example, even when you write a thing influenced by something else, when it's finally sent to other member shouldn't it be reborn as a totally new thing?

utA: You're totally right. Yeah, it will be reborn as something new, so I just thought it'd be totally fine if I let my mind wander more and create. Of course I want to push myself and always create something that will make you think 'oh amazing' the moment you hear it, including the worldview as well, but if I only do things this way it will always be like that, when I instead pass the idea to the band members it's so interesting to see how it will change. So now, you gave me a very good hint (laughing). Just, my hate of loosing in weird way comes out here, I want to be able make people react 'I'll be damned, what was that!' all by myself. I want Kyo or other members to accept the song when listening at first only to the sound I created. I want to surprise Kyo, who blessed me with 'I want your sound'. Actually, I already made some crazy songs, I want to make more songs I'm happy with and that members can listen.

-- When thinking specifically about the next [work], what kind of sound or songs do you want to pursue?

utA: It's something I've been saying from the start, I want to bring out abnormality/transformation. If the band's sound become electro or other, I don't care about this direction, but there's the thing were I don't want people to listen without questioning it. When no matter how many times you listen but it's hard to understand. And then after a year or so you start thinking it actually might be a good song. Saying that this is my ideal might sound strange, but I think songs like that are way more attractive. Not a song that you like from the first listen.

-- I totally get that feeling. Listening to the song, you can enjoy the wrestling with the music. It's beyond your comprehension, but you're drawn to it somehow. Because when you keep listening to it again and again, you start noticing more sides to it.

utA: That's true. It took me about 5~6 years to truly understand Radiohead. Especially "Pabro Honey" or "The Bends", at the beginning they totally didn't resound with me. The vertical axis felt off, or wasn't there a better chord than this etc. I was thinking that for so long, but then I finally understood after some years, it's because of those things they are good. I hope to someday be able to reach that level. Even if fans probably don't want songs for which you need 5~6 years to understand (laughing). But there is a joy of bringing something unknown to life. sukekiyo has created that for each album, so I'd really like to give birth to something even better again.

#sukekiyo #utA #interview #translation #rock and read #rock and read 091 #kyo #9GOATS BLACK OUT

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