(I): Even though there are just songs lined up with a down tuning, you can totally listen to the heavy and low tunes easily.
U: yeah. I think with other artists there are many songs that go with A chords and have a slow tempo, but in case of the GazettE it’s fast, and because of that it got important to bundle the tunes. Because that was a topic from the beginning, the easy listening comes probably from this part.
(I): How do you see the album you completed?
A: To be honest I thought something like “ah I can hear it!”. In the stage of demos I thought I won’t be able to hear it throughout the album.
U: Because it’s too intense, right? (lol)
A: yeah. As I listened to the demos, the singing wasn’t included yet, and I thought: “Ah, we did something like that..?”
U: For example, even though fast songs are continuing, it wasn’t that we could hear it, but more that we had moments where it got better. You could call that some unexpected result. This album showed that it’s not always necessary that after a intense part has to come a singing part.
A: Until now we always thought about the balance, and placed the songs thinking about that.
(I) I think that this album shows particulary the sound of the band, but what are the people around you feeling about it?
A: Something like wanting to express the feeling of a band. I came to say that about the albums until now too, but somehow I thought that the sound there wasn’t really expressed. But with this album we finally had the feeling that we’d come nearer to the term we were pursuing! It’s not really that we wanted to convey where every member is standing as an individual, but what our livelihood as a band is. It became obvious, that we wanted to give this kind of sound a form…yeah, vaguely, right. But if you ask me what kind of tunes the GazettE are producing, I guess that this album is the most typically for the GazettE, and also easy to understand. So I’m kind of thinking that we’re definetly producing the things other bands can’t do.
U: But I think that’s not easy to do so! To say it oneself is maybe a little strange, but it’s because we were growing to this point that we could do it. Because we were going through everyone doing the things they liked, it was that we could reach this point. It also took some time. As such a type of band this album became the answer we asked for, isn’t it?
(I): If we talk about the playing side, for example that you can use such diversified riffs asks for plenty of techniques, doesn’t it?
U: The things I boosted are in some way or the other reflecting, I guess, but that’s unconsciously. But in “RAGE” or “DAWN”, and especially in “PARALYSIS” it’s like that too, but they also had to have this image in the fast parts, as if you’re standing at an edge. It’s not always the alternate [picking] (a guitar technique where you’re picking the strings from down and upsides), but also in the parts that work, I wanted to go with something like down picking. But it’s for sure that if you’re playing this song there are many phrases that are fun to play! Therefore the thing I’m regretting is, … that it’s not in a regular tuning (lol).
A: Because it’s difficult to copy. (lol)
U: yeah (lol). If you’re playing the intro of “Blemish”, it’s an awesome feeling and is setting the mood. Every tune is pretty clear and that makes me kind of proud (lol).
A: I’m recommending “DERACINE”, because I think everything is included in this song, isn’t it. You can hear both of us and each has parts where he can expand, and also we’re using effects. It’s important to adjust these lines! (My Japanese friend had problems to understand this part too… but she thinks Aoi meant that Uruha and Aoi are playing each their parts but that they have moments where they have parts that are fitting each other. Like if Aoi is going up with the tunes Uruha is too or something like that) If it’s not fitting you can’t play. I guess it’s good that my ear is trained, isn’t it.