R: In my case, first the things I make are not coming from a melody but from riffs! Therefore I leave it there and when we're taking a demo, we'll adjust the tuning of the guitar (lol). To tell you our work flow, it's first the intro, and as we did the A melody we're adding the singing. Next step is the B melody, we're doing everything separated. That's why the refrain of „DOGMA“ isn't coming until the end! We're slowly changing the tempo and other changes (while they produce a song)
That's why we're often find things with the trial and error method.
(I): But even though you did all kind of developments, this work is unusual easy to understand. The flow is really smooth. With the dark and heavy parts, if you tried to hold on to the evilness and the chaos, you'll add an even more complicated arrangement, because of this stile it's easy, isn't it?
R: I wasn't concious of it, but yeah it really is like that, isn't it. There are probably few things without a meaning. If I try to think about the band I really like it's the same, isn't it. My main conciousnes isn't that of a guitarist, but the phrases of LIMP BIZKIT or METALLICA or something, somehow you get the feeling to want to copy them... I really like the ones that are easy to play. Because we're a generation of mixture (not sure what he meant with this generation), I liked the simple riffs of Yama Arashi. (If you want to listen to him, there are songs of him on YT, you just have to use the Kanjis: 山嵐) The darkness of SLAYER or PANTERA are good too (lol)
(I): For example the riffs, there are various ones in each song, isn't it. Aren't you doing something like taking just one of these (riffs) and make a new song out of it? It's kind of a luxurious way of making them.
R: That's why my dark repertoire is slowly fading (lol). Because I'm not a guitarist, I don't think about how to place the chords, but play just with listening.
(I): The title track „DOGMA“ shows how the Gazettes form is, but the lyrics absolutely have the meaning of „DOGMA“, but it's not summarizing the unity of the content. Each song is independent and is summarizing the world of the GazettE or better said, Ruki.
R: As we're in a band, we're not staggering how we should proceed. This feeling is especially strong in „DOGMA“ I think, but in the end it's not like we're asking ourselves how it feels to have reached this point. As we tried to finish it I got the feeling that is pretty near to our splitting image, isn't it. Unexpectedly it's not an imaginary world. In writing I use metaphors, but for example, regarding the phrase the pain of the world, with this normal expression it's too light, I think.
(I): „BIZARRE“ is about a recent social problem isn't it?
R: yeah. As I wrote it, the youth crime just happened. But it's not particulary about that, it's more the end of it, isn't it. I have the feeling that I wrote my normal sensations, but in this world there are cases where it's a taboo. It's not like it's a thing that is important for a short moment and then forgotten, but after it happened it was in the news for about one week, but what's important is, what happens after that, isn't it? There are many things that let you think about them, isn't it.
(I): Related to this, this time all the songs are just one word, isn't it? I was wondering if each (song) has a symbolic meaning.
R: Yeah. It's the „seven sins“, isn't it? These too are just words strung together isn't it? Because this time the songs include just one emotion, so I thought that one word would fit best.
(I): Thinking of „Seven sins“, I guessed so because of the lyrics of „RAGE“ and others too, but as you were building the absolute dogma in the band, did you wonder how the listeners would take it? You gave them some space, I think.
R: It's like that. First of all the compulsion of the term „DOGMA“ is something like, „how is God thinking“, or „how is death seen“, such topics are thought of (by DOGMA). Regarding some cult or religion like „DOGMA“, believer are are spreading with their own interpretation, aren't they? Like I said before, in context of the bands I got to like, I adapt their thought as my own and make them absolute (lol) But for example, as Luna Seas „Rosier“ or „True Blue“ came out, in us the image of a big city night was really strong. Because it's strange, and even though it's not the case that a concrete word is coming up, but it's something like a mutual language. Also it's the character of visual kei I guess, but that's probably because in „DOGMA“ are many things about that time, that you can recall, isn't it?
(I): The albums last one, „OMINOUS“ was born pretty early in the process and I was very interested in it!
R: With the order of the songs, we talked that it was just naturally a song, that didn't fit in the middle, but the word „OMINOUS“ shows our current comprehensive self.
The Lyrics are a real story, the 13th anniversary pilled up too, at this time as we just named it, many things happend (wry smile). But as the days went by this song got stronger and stronger, didn't it. But in the beginning we didn't make this song with these feelings.
(I): From now on you'll be on tour, but with making „DOGMA“, was there something that you could see as a band?
R: For example is this the way to use music, or if we couldn't experiment or the feeling that something is strange, these things happened, but the time we finished it, we didn't have the feeling of satisfaction... If you listen to it, it's a heavy feeling or better it's like a close up of things I don't like and therefore like a diary. Originally if we had made it from the position, that we should give dreams, it also shows things that shouldn't be shown. But the appropiate way for music to be is the way of conveying, but I also think that it should be in an natural form!
Next one is Uruha/Aoi Interview :)