ROCK AND READ 073 [the GazettE] - Reita
Preface: I've had this translated in my documents for a long time, so I dug it out and now it's good to go!
15thAnniversary Recap
Welcoming their 15th anniversary
this year, on the day following the release of this issue, the Gazette will be
performing for the first time in nine years an outdoor live, "BURST INTO A
BLAZE 3" at Fuji Q Highland Conifer Forest on August 19th.
Three years since his last
appearance in our magazine, through Reita's own recap this interview includes
private matters and the band's path up until now. Naturally, the band has
history, the people have history.
Against the GazettE's rebellious
history, Reita's chivalrous history can be seen from here as well.
Profile
Born May 27th. Blood
type A. Bassist in the GazettE since formation in 2002. Other members include
RUKI (vocals), URUHA (guitar), AOI (guitar), and KAI (drums). This year marks
the 15th anniversary since their formation, starting with a DAI
NIPPON ITAN GEISHA live in March, and embarking on a follow-up tour under the
same name in April, the GazettE will hold an outdoor live for the first time in
nine years at Fuji Q Highland's Conifer Forest on August 19th called
"LIVE IN SUMMER 17 BURST INTO A BLAZE"
the-gazette.com
*****
The important thing is to be at the forefront for 15 years.
I don't worry about moving down and passing it off to the youth.
Q: Although the main theme this time is Reita's perspective on the GazettE's fifteen years' recap, before that I want to ask about the photoshoot from the other day. Last time you were covered in paint so it stuck to you*, but this time Reita submitted his idea for the photoshoot; it's a little different from your usual image, it feels like a fetishized "steampunk". How did you come up with this idea?
*Last time = issue 55 released in August 2014.
REITA: At first, as usual, I thought I might feel more accomplished when I was tired of having stuff stuck on me, so I thought about burning a fire or something else, but I thought the pragmatics would be difficult. Then, different from that, I wanted to try wearing something I hadn't before, and that's how I came up with the idea of steampunk.
Q: Do you always have feelers out for information on such trends and culture like that?
REITA: How indeed, isn't it that it's hard to find when you need it?
Q: Sometimes it's necessary when you need it. In that sense, are you usually looking for lifestyle information or something? For example, cooking or something?
REITA: Ah, certainly.
Q: By the way, do you usually do things like cooking?
REITA: Although I rarely do it, I do cook a little. It's only stuff like pasta and fried rice, though. (lol)
Q: And what about music? Do you normally listen to it?
REITA: I do. What is it recently? It's a little old but KORN's albums were really cool, so I listen to them.
Q: Where do you take in your music information?
REITA: No, I simply use iTunes and YouTube, but if you play one song, a related song will come after. It goes on and on from there.
Q: How about lives? Do you often go?
REITA: I only go rarely. But I saw two days' at KNOTFEST last year*. We performed on the second day, but I went with KAI the day before. I only saw those I really wanted to. Why is that, though? I think it'd be good to go to more.
*KNOTFEST = November 5-6 2016 at Makuhari MESSE hosted "KNOTFEST JAPAN 2016," the GazettE performed on the second day.
Q: Even though you say that, none of the GazettE members are especially social types, right? (lol)
REITA: Right. (lol) There's nothing like an exchange between well-known bands, right? We've come into the style of not making friends from a long time ago. In short, other bands were our rivals. We always carried the feeling of, "We don't want to get along with you; we'll take your fans and make them ours," so as expected we can't make friends. (lol)
Q: No, I think it's rather commonplace for other bands to refer to others as their rivals. After all, it's just a story on-stage, because in private isn't it totally separate? (lol)
REITA: No, not entirely. That's because we talked amongst the five of us, since a long time ago. So, there are a lot of SNS now, so-and-so has met everyone, doesn't that click? I'm happy there wasn't anything like that in our days, because if they had existed from that time, it'd be a little scary.
Q: That's saying there isn't an opposing band to do a 2-shot with. (lol)
REITA: Right. It's a little bothersome, but… (lol)
Q: Then, what do you regularly do in private?
REITA: Recently? A place I regularly go to is the gym. Other than that, something I've been into is coffee. I buy the beans, grind them at home, and add hot water to make it. I do it pretty much every day.
Q: You sound pretty fixed on it.
REITA: No, I haven't got that far, I'm only like that about the beans. That's why I buy a variety of beans in 100g each, while sort of walking from place to place. Ah, but I think that's a pretty trivial story. (lol)
Q: No, it's a precious story because we can see something about REITA's daily life that's rarely shown. (lol) Then, you go to the gym as always. Previously, in the issue released three years ago when you last appeared, in the chats during the intervals for the photoshoot you mentioned how you wanted to lower your body fat percentage to the bare minimum, so you were training.
REITA: Ah, I think that time three years ago was when I first started going to the gym. Muscle training may be the number one thing to cause frustration, for everyone. That's why, at the beginning I had to become stubborn and go. I felt like not giving up. Then, once the results started to show, it gradually became fun and from there I began to think that stopping would be wasteful. Shortly after that, if I don't go to the gym, my body gets itchy to do something. (lol)
Q: Withdrawal symptoms! (lol)
REITA: Yes. (lol) Ah, but, if you consider your age, I don't think there's anything but benefits, so I think it's good to do it like this.
Q: By the way, in the 2011 interview before that* you said that you hadn't kept up at working out. Comparing that to 2014, you have greatly succeeded, right? (lol)
*2011 interview: issue 36 released June 2011
REITA: Well, that's all it is, so what else is there? (lol)
Q: No no, there's also the band. (lol) By the way, when you formed the band 15 years ago, did you have something private?
REITA: If it's about what I did 15 years ago, it must be my part-time job. Part time job and the studio. I only get to enter before the lives now, but at that time I went to the local Starbucks twice a week, and after that was my part time job, the whole time.
Q: What did you do for your part-time job?
REITA: I worked at a bread factory. (lol) Do you know the convenience store Three-F? At a Three-F in Kanagawa prefecture, I wrapped up the bread that they display. Other than that, I'd put in the stickers of the new products, and put in the cream fillings.
Q: That's quite a history. Why did you work at the bread factory?
REITA: That's because working the night shift was good. The wages for night shifts are good, aren't they? Besides, at the time my hair was dyed pink, so I thought it was totally impossible to work in customer service. They were recruiting for the night shift, and I thought I could probably hide it under a hat. I thought it'd be okay if I wore one in the workplace, so I went to the interview like that only to find my hair accepted with no trouble. Instead, if there were a dyed hair in the product, they would easily find it belonged to me. Luckily, such a thing never happened. (lol)
Q: Ahahaha! From 15 years ago, that's such a good story!
REITA: I continued with that part-time job for about three and a half years.
Q: While you were part of GAZETTO*?
*currently stylized as "the GazettE"
REITA: No, since I had just started, it was for about the first year and a half that I did GAZETTO while doing the part-time. After being with PS Company for a while, I quit my part-time job.
Q: The situation became that you could devote yourself to the band. From then, ten years have passed, at this point (this interview was held at the end of June) what with the GazettE be doing?
REITA: Because we first had to decide the setlist for Fuji Q*, coming up to that we have to practice and make the SE. Then, once a week we have a meeting but it's more than just for the Fuji Q live—for example food, and expanding on our costumes, all the members and staff meet every week, and we continue with meetings on those subjects.
*Fuji Q = "LIVE IN SUMMER "BURST INTO A BLAZE 3"" concert at Fuji Q Highland's Conifer Forest.
Q: Busy as ever. But, 15 years ago you had a part-time job and practice, and because of that every day was spent without privacy. That's like overseas rock bands these days, making wide-ranging albums, and then carrying the albums over long tours, isn't it? Looking at everything, it doesn't seem as though your activities are so hurried, I think.
REITA: Ah, but comparatively this year has that kind of feeling; up until last year we were really busy1. Especially in the time before DOGMA's release* that level of busy would have been too much. Because there were a lot of subdued works going on. (lol)
*DOGMA = 8th album released August 2015
Q: The tour was also long.*
*Tour = "LIVE TOUR 15 DOGMATIC -UN-" from September to October 2015, and "LIVE TOUR 15-16 DOGMATIC -DUE-" from December 2015 to January 2016
REITA: We were always doing stuff to prepare for that, for example we made video productions, and held various preparatory meetings. That was really difficult, everyone said "let's not do another year like that." Continuing, a little more long-term, I think it would be better to work out a polished plan, I think it'd also be good for our mental health. (lol)
Q: Compared to now, that's a conscious effort to avoid becoming too packed. But, what do you think about such a long interval between releases? For albums, isn't it relatively typical for one per year?
REITA: Ah. But for me, I think one per year is impossible. However, if the tour had something like five shows, then maybe it'd be possible.
Q: For one tour. That'd only be five large cities.
REITA: But maybe if we did it like that, I wouldn't care. If we had five shows, I think it'd still probably feel like we were getting our footing. I think there's no meaning if there isn't a minimum of at least twenty. That's why I think it's too strict to make one album a year.
Q: In the 2014 issue too, as expected, REITA said that making albums constantly as it was would make the band's lifespan shrink. Even so, about the earlier "busy" talk, as a matter of fact before that, in the 2011 issue you said the same thing. Because the schedule was so tight as to cause stress leading up to Tokyo Dome*, you said that you talked about improving it. In summary, the GazettE has in the end come to repeat the same thing. (lol)
*Tokyo Dome = "TOUR10 NAMELESS LIBERTY SIX BULLETS TOUR FINAL THE NAMELESS LIBERTY" on December 26, 2010.
REITA: In the end, it's true. (lol) Well, it's good to be busy, but that kind of busy is… (lol) Without the time for input, to continue putting out releases would whittle the band's life, all the same. That's why maybe, all the same we won't be like that, with this kind of strictness being too difficult.
Q: Going back to this year's 15th year, does the time for DOGMA stand out as being the most intense?
REITA: It does. DOGMA was really intense.
Q: Surely it was the same for RUKI at the time, at first the DOGMA shows were in halls, I think he didn't get on well with it and there were a lot of trial-and-errors for everyone.
REITA: There were a lot of plans in the beginning. Things like starting from live houses too, but also doing the opening day at a bigger location. But after all, in the end we did it from a hall; we thought it was better to go to an adequate area.
Q: No, you pretty much go to good places.
REITA: I guess I still wanted to go places where I hadn't been. Like Asahikawa for example, or if we went to Aomori, then Hirosaki. Still, it takes energy to come so far to see it, right? But I'd like to see it even once. Like that, we'd have to go to places we haven't been yet. That's how the performances became 42.
Other bands were our rivals. We always carried the feeling of,
"We don't want to get along with you; we'll take your fans and
make them ours."
Q: As a result, you ended up strangling yourselves. But, that's reasonable, you want even one more person to see it.
REITA: I really do. I felt that way about KNOTFEST too, that was our goal. Come see us. The people who don't know us.
Q: Because it's clearly a different field from usual, it also seems like the comfort of your backyard isn't good either. (lol)
REITA: Comfort is the worst. Because you won't leave from the dressing room. (lol) By our appearance, didn't it look like we were sweltering? Because it was summer, and we didn't wear half-sleeves. Outside, since we were restless and drenched in sweat, I thought it was bad for the other bands. As if something strange had come. (lol)
Q: Ahahahaha. That's why the only purpose for coming out at the festival was purely to be seen. Going back to the conversation, what do you think "DOGMA" is for yourself?
REITA: In short, it was a work to prove that things like religion or the GazettE are absolute. So, this is a scripture; it's a story about believing, but it felt good. I especially thought of GUDON* for the 15th anniversary, but we were able to play DOGMA well; it was easy to play and get into the mood. That's why, to the very end the mood is important, and it feels like reconfirmation of the GazettE's foundation in darkness and intensity.
*GUDON = "Fifteenth Anniversary Performance Dai Nihon Itangeisha "Boudou-ku Gudon no Sakura"" on March 10, held at Yoyogi National Stadium Large Hall.
Q: I also found that it reconfirmed the GazettE's black core. I think that by reflecting on the past redefinition tour*, you were able to arrive there. The last interview was when you were right in the middle of the redefinition tour, but at the time you talked about feeling a sense of distance between you and the audience. After everything, how was it at the end?
*Redefinition tour = March – April 2014 tour "NAMELESS LIBERTY DISORDER HEAVEN," July-August of the same year tour "PULSE WRIGGLING TO DIM SCENE," and November-December tour "GROAN OF VENOMOUS CELL." They were all fanclub exclusive, standing tours.
REITA: The redefinition tour, as expected gradually got better. Conversely, after DOGMA, the international tour*, and the standing tour* it wasn't sufficient. I thought the feeling of the audience was more chaotic from the redefinition tour. I wondered why that was. Once more, we published the type of behaviour we like to see at the lives on the website.
*International tour = "WORLD TOUR 16 DOGMATIC –TROIS-" from April to June 2016.
*Standing tour = "STANDING LIVE TOUR 16 DOGMATIC –ANOTHERFATE-" from July to August 2016. The final was held at Shinkiba STUDIO COAST on August 1st and 2nd, 2016.
Q: Ah, you did; a manners reminder.
REITA: Putting it up, if we were to say it there'd be more restrictions. Stylistically. Don't do this, don't wear that, don't wear accessories, etc. But that's because we want them to be more violent. So that's it's easier to get riotous, that's why we have those restrictions in place. You don't wear a leather jacket to play soccer. (lol) Actually, it's not necessary to write the live manners, is it? Because it's reasonable, like common sense. But since we've recently been holding a lot of hall tours, the number of people who haven't been at a live house before has been growing, so once more we had to redefine the manners. So, during the tour we made the announcement. We put it out some time before the last day at Shinkiba, and as a result the mood at Shinkiba was totally different. It was so good, it left an impression on me. At the time, my heart was shaking. Like, "Ah, we can still do it."
Q: That means you could also understand the fans well.
REITA: That's right. Even though I think there were people who wondered to themselves why we were being so strict, there were also people who understood it as reasonable when reading it, people who understood that there was no need to put it out because it's common sense, and people that thought "Oh, I get it," too. But once again, we wanted to summarise our understanding.
Q: And then the fans responded in a good form. In the idol scene recently, things like lifting and diving have been banned, that's because it's dangerous because of it being violent, but that's opposite from this. You've asked fans to be violent, as part of your regulations.
REITA: The current age is too fucking frank. It's too strict. And yet it seems like a voluntary restriction. I think it's interesting to carry that out. I think, so long as the breaks come off in the live I don't care about it so much. Now, the small theatres themselves are strict. You can't go down [off the stage]. I think it's steadily gotten harder and harder.
Q: So, if you're able to create a pleasantly violent environment, such regulations may be okay in small theatres.
REITA: That's why I think of it in the sense of a sport. I want people to sweat like that.
Q: Then, in our conversation you brought up "GUDON NO SAKURA," but you introduced it in the initially as "DAINIHON ITANGEISHA," how did that live go?
REITA: When we were deciding the setlist for that we were quite worried. There was a really reckless image in the beginning, like, "At that time we were at live houses," or "At that time we only wanted to play at live houses." After thinking hard on it, it ended up being only songs with a difficult mood, although we had the impression of getting the fans excited. Taking full advantage of that reflection, we started to make more and more exciting songs. However, there was a part that made the memory from that time a little more beautiful. (lol) Because there were things different from the excitement I thought of. The live itself was extremely fun, and I think everyone was happy to listen to them for the first time in a while, but in the end the songs are just songs. (lol)
Q: Ahaha. Even though the venue was at Yoyogi Gymnasium. Compared to a livehouse, it is fundamentally different. (lol)
REITA: That's right. (lol) I think there were many people there who heard us for the first time. That's why I think the sense of unity in the mood went in a different direction. Ah, I miss it, but even if the GazettE of now did it, that could be cool. That's why, it's not whether the mood is good or bad, I kept changing my mind about whether I'd feel elevated or not. On the other hand, we seek the mood afterwards. In the meaning of more senselessness2, we changed the setlist a little in that direction for the additional* ZEPP shows.
*Additional shows = "Fifteenth Anniversary DAI NIHON ITANGEISHA "Bodoku Gudon no Sakura" FC-exclusive tour that started from April.
Once more, we published the type of behaviour
we like to see at the lives on the website.
But that's because we want them to
be more violent.
Q: In that way, there was a clear end for the DAI NIHON ITANGEISHA period, wasn't there
REITA: For this, there isn't. That is to say, we didn't make DAI NIHON ITANGEISHA in 2002. We joined our current company in 2003 and maybe a little while after that we made DAI NIHON ITANGEISHA. Then, in 2006 around the release of NIL* was when we changed to writing our name in English, right? Somehow or other, we went in that direction.
*NIL = second album released February 2006.
Q: Then, how would you generalize the DAI NIHON ITANGEISHA period?
REITA: This time was somehow or other frantic. There wasn't any information, and none of us had any idea of what would be good. We also clashed with the manager. But contrasting that, it was like a fire was lit in our hearts. Well, somehow if something happened, the five of us would go to a ramen shop, and we did nothing but complaining about the company. Like, "That fucker!" (lol) We said we'd absolutely go to perform at Budokan*, and we worked towards that goal. That's why now, we are grateful for the manager we had at the time.
*Budokan = "Standing Live Tour 2006 "Nameless Liberty.Six Guns…" TOUR FINAL" on May 7, 2006
Q: With a common enemy, the band unity can get stronger.
REITA: In any case, let's look back. There wasn't a lot of mobilization, so the office couldn't answer what we had to say. For example, if we said we wanted to change our manager, it didn't change. But probably our opinion would change if we could perform at Budokan. Then, thanks to getting filled up there, one week after that our manager changed. (lol)
Q: This really is a rather nice story. Thanks to that, things are how they are now. Then, before that Budokan performance, was your major debut.
REITA: While there is that, doesn't everyone say that we went major with Cassis*? That's not wrong. It was released from a major recording company, so a major debut is a major debut, but at that time a major debut was kind of like losing.
*Cassis = 8th single released December 2005
Q: It was, wasn't it?
REITA: Because we thought that fans hated the words "major debut," and we also asked, "What should be our major debut?" and for example, we stubbornly asked various magazines to erase the major debut with Cassis.
Q: Yes. Even our magazine did that, in truth. (lol)
REITA: I think now, whether indies or major, a band doesn't change unless they break up. That's why for us from now on, I don't think it's necessary to worry about whether the fans have changed since our major debut.
Q: Certainly. Until you finally made it to Budokan, what was the timing for when you first had the impression that "We can make it, can't we?"
REITA: As for thinking, "We can make it, can't we?" if I'm honest it was around April of 2002. 30 people had come to our show. Like, "This is great," the overwhelming force was like us. (lol) To think of that kind of misunderstanding… but, I think it's important.
Q: Was there a time you thought about it a little more seriously (lol)?
REITA: Ah (lol). At Shibuya AX* in January 2004 we had a oneman, but before that in September 2003 we also had a oneman at AREA*. The next oneman after AREA was Shibuya AX. I thought, "Eh? No one will come." I think it was part of the manager's strategy, from about one month before that we thought "this is no good! Nothing is selling!" We were really impatient. Trying to look at the results, it was sold out in the end, but until the day of the show that information was kept secret from us. That's why we didn't know how many people would show up. That was terrifying. My feet were trembling.
*Shibuya AX = "Tokyo Saiban JUDGEMENT DAY~" live on January 16, 2004.
*AREA oneman = "Customer Appreciation Day" live on September 5-6, 2003.
Q: Meaning, when the curtains rose, the floor could have been empty.
REITA: Probably as a manager, they did it like that so as not to emphasize such a feeling of crisis. But honestly, standing at that time I felt like being taken to the office. I was really happy but, it didn't feel like a place where we were standing by our own ability, I thought it was a little different. That continued for a while into 2004. At events where the GazettE entered first, we were told "You should stand somewhere else." That's why we wanted to always keep doing lives. Then of course, at Budokan in 2006 we really felt that we rose up by ourselves.
Q: That's the Budokan story from just earlier.
REITA: I didn't think it would take us here. Because we felt that we were rising up into the world, we were able to achieve this success.
We clashed. But contrasting that, it
was like a fire was lit in our hearts.
We said we'd absolutely go to
perform at Budokan. In any case, let's look back.
Q: Conversely, when did you first feel the impending doom that this may be no good?
REITA: When I first thought that was after Budokan; after that we released REGRET* and Filth in the beauty* in 2006 and went on tour*. For some reason, that time we only rehearsed for three days, even though we had roughly six new songs. At that time, we didn't really talk to anyone. I was really uneasy that this tour would end in a massive failure. We were definitely nothing more than lack of practice.
*REGRET = 9th single released October 2006
*Filth in the beauty = 10th single released November 2006
*Tour = "TOUR2006 [DECOMPOSITION BEAUTY]" tour from November-December 2006.
Q: Was it because you were simply too busy that you only rehearsed for three days?
REITA: No, I think it was more that we were really excited. But, even though we went on tour afterwards, I didn't mind it that the final at Yokohama Arena* was like that, too. After all, doesn't it mean usually like one month's rehearsal for one live? That's why if the tour starts, it's alright. But, from there we've been careful to rehearse properly.
*Yokohama Arena = "TOUR 2006-2007DECOMPOSITION BEAUTY FINAL [Meaningless Art That People Showed]" at Yokohama Arena March 11, 2007.
Q: To eliminate anxiety, even though it might be imaginary fears. Then, in these fifteen years, what do you think was your number one thing to cause you trouble?
REITA: This, the other members probably don't think of these days in this way, but I couldn't get my motivation up for the STACKED RUBBISH* tour. I didn't like to be on stage.
*STACKED RUBBISH tour = "TOUR 2007-2008STACKED RUBBISH[Pulse Wriggling To Black]" tour from July 2007 to April 2008 promoting the third album released July 2007.
Q: Why is that?
REITA: Something like stress. My skin was also really rough, and I was worried about that, too. (lol) Even now this year, I remember it. During the lives, I felt really depressed about it. But I thought I couldn't let it show, so I didn't let it show during the lives. That's why it hasn't been pointed out in particular, but within myself, I thought it would be bad for everyone.
Q: What were you stressing about?
REITA: Maybe for everyone wanted the GazettE at that time to be the best. To feel that desire was a little painful. My heart was aching.
Q: Was it also strained between the members?
REITA: No, our relationship was really good, but everyone wanted something. At that time, my own capacity was narrow, like my ability. That's why I felt stressed. If it were now, I'd be able to be like "Let's have fun!" but at that time I was worried by a lot of things I'd been carrying.
Q: During tours, you're always together, so from that the pattern of relations worsening is in fact many, isn't it? But for the GazettE, even if you peek into the dressing room, everyone is always getting along.
REITA: Ah. It's said that everyone starts to not get along on a long tour, but I haven't felt that. Well, we're close like a family, right? Even though there are temporary times where there is no talking, everyone respects each other, because we love each other and even if there is a clash, it doesn't get to the point of not wanting to play anymore. Words often heard are "disbanded due to musical differences," but I think generally that everyone doesn't think that. (lol) Perhaps, their relationships got sour. That, or money. Even though I think that, I don't think that will happen to us. I can only say what I think, though (lol).
Q: Ahaha. Because no one knows what the future holds (lol).
REITA: However, I understand that the fans' mentality is that they want to see a good relationship, but I don't like bringing to light things like good relationships.
Q: But, yours is well-known as a band that gets along.
REITA: Now it is like that, but it feels like it may go in a different direction (lol). But ahh, maybe that's why the lives are so intense. Up to the last five minutes before the show starts, we're in the side off the dressing rooms, having a totally trivial conversation. Then, once we're fired up, everyone changes with a POOF! I like seeing that. The guy who said such silly things seems really cool, now (lol).
Q: You still get fired up, even now.
REITA: There isn't a day without it. Because of course we do things like events and festivals. And then, after that, one by one everyone is encouraged. Before knowing it, everyone came to do it like that.
Q: Like the previous director, Hara, for the GIANTS.
REITA: That's right. But we don't do it with both fists (lol).
Q: One-handed, with everyone. In other words, if it were REITA and four people, each person would hit their fist.
REITA: I don't remember when, but it was definitely around the time of DOGMA's tour? AOI and I weren't close, right?
Q: On stage-right3.
REITA: At first, from the DOGMA tour's "01," when the curtains open. Then, about the fixed positions, mine and AOI's eyes met, and we encourage each other, "like this!" There wasn't another member who really did that, but after that tour there were no curtains, so we got fired up and the SE flowed out from the side-stage, and then once everyone notices it we get started.
Q: That's also a good story. Moreover, when there is a curtain, across from it you're on standby and at that time everyone's doing it. That sight alone brought up goosebumps.
REITA: Ahaha. We do it that simply.
Q: Conversely, was it that you wanted them to thank you?
REITA: No, it's not like that. It happens that if there's a member who's not excited, I get interested in talking about it, but over there it may be bothersome. Not even, "What's wrong?" but I'll talk about stupid things. Like, "Did you know this?" We do it naturally.
Up to the last five minutes before
the show starts, we have a totally trivial conversation.
Then, once we're fired up, everyone
changes with a POOF! I like seeing that.
Q: Naturally.
REITA: That's why I just do it like my nature, well, I wish I could save even one person with that.
Q: No, no, it should be fine. As for the relationship between the five members, fifteen years ago and now, what's the biggest change?
REITA: I wonder, I'll tell you what we talked about fifteen years ago. Well, I think we've come to respect each other a lot more than a long time before (lol). As expected, I want to spend my life in a band, but as a human being my ability grows, and I feel like everyone is becoming able to accept that.
Q: So, you've continued for fifteen years, if there's anything you lost, what do you think it is?
REITA: Ah, to that end, I think I'll lose everything but the band. Because as expected, things like my nature and social life have dwindled.
Q: Bandmen often say that they didn't have a youth for focusing on their bands all the time.
REITA: No, when I was a teenager, I put my all into music. However, what I was careful about not losing was common sense. But, conversely it became a complex.
Q: That's kind of the opposite of the rocker image. That's what REITA's said constantly: the difference between "Real REITA" and "Stage REITA".
REITA: That's right. The way I think of a rocker and my true nature are total opposites. But I think that gap is good, and there are some ways it can be used as a weapon.
Q: Conversely, after 15 years what's the thing you're most proud of? Is it just that you've been going for 15 years?
REITA: No, doing it for 15 years doesn't mean anything to me. It's not strange, but the important thing is to be at the forefront for 15 years. I think anyone could do it in the back for 15 years, but to always be in the forefront is something I think is considerably hard. There are some people who would disband on the way, but they want to continue. Even so, I don't worry about moving down and passing it off to the youth. To that end, it's alright for us, but there's no need for a scene called "visual kei." If we're around, it's visual kei. I'm proud of that. I think we probably wouldn't be around anymore if we hadn't fought in the forefront. I feel like we've been able to do this for 15 years because we were able to fight.
Q: Doing things like playing it safe, it would have been alright if you wanted to continue modestly, but not now.
REITA: No, that's done.
Q: Incidentally, although it's not harmful to keep going, but when I interviewed URUHA last year he thought about whether or not to continue playing "Kanto Dogeza Kumiai", which has been a killer live tune since long ago, he said the band's opinion had been split. Which faction were you a part of?
*URUHA = Issue 67 published August 2016.
*"Kanto Dogeza Kumiai" = On the second single "Kichiku Kyoushi (32sai Dokushin) no Nousatsu Kouza" released August 2002.
REITA: Ah, this is a difficult question, but I also wondered until when we'll play it. Even so, we've been doing it as promised. Aren't promises important? But on the side of doing it, it's akin to being stuck in a rut. So I thought there would be a chance to stop in the ambience of "DOGMA". But in the end, we revived it during the standing redefinition tour, so it's still necessary.
To that end, I think I'll lose
everything but the band.
When I was a teenager, I put my all
into music.
Q: Either way, there are benefits and disadvantages.
REITA: I first thought for "Kanto Dogeza Kumiai" some people would knock each other while kneeling on the ground. Staff at the events warn about that, because of course it stands out. So, visually we've become a band that does kneeling on the ground. But saying that, it's just one song. I sort of dislike the live image that from that one song we're a band that kneels on the ground. It's nothing more than a bonus. Well, it may be a boring fixation, but for the guys in the band we would stick to that.
Q: No, I think it's good. But in the end was it revived because the desire to do it won?
REITA: Of course we wouldn't play it if the fans didn't want it, but there were those who did want it. So for a time we tried to make it cool to "kneel". We dropped the B tuning, and changed the arrangement to a certain extent. Then, although we played it during the redefinition tour, we aren't familiar with it and the fans don't notice that arrangement. That's why when we revived it with "DOGMA", I returned to the thing we had done so far, but it's not that kind of thing after all. It's more substantial than just changing the phrase. Now, however, it's fun. Saying that, it's the only song I don't have to worry about playing (lol).
Q: On the side of doing it, it's a song that you can enjoy without even thinking about it (lol). Then, moving to the first outdoor live at Fuji Q Conifer Forest for the first time in nine years*, which will be the day after this issue goes out, it began in 2006 with "GAZEROCK FESTIVAL"*. The point is to be an antithesis to a world festival, right?
*The first time in nine years = Since August 23, 2008 "GAZEROCK FESTIVAL IN SUMMER 08 [BURST INTO A BLAZE]" held at Fuji Q Highland Conifer Forest.
*"GAZEROCK FESTIVAL" = "GAZEROCK FESTIVAL IN SUMMER 06 [BURST INTO A BLAZE]" at Tokyo Big Sight International Exhibition Center.
REITA: Of course, the first time it couldn't be called a festival, but we wanted to show it that way. But we didn't call out for anyone, so we had to do it ourselves. However, on the other hand if we as the hosts were to invite someone else, they'd all be enemies, and we didn't want to refer to them as enemies. So we had to do it alone (lol).
Q: That's how you substituted the space for a festival.
REITA: Right. Only the outdoor concert hall was there, so it was fun. So we started it two years later. And then it rained (lol).
Q: Now, although you've been invited to many festivals, but I think that one takes the cake for the GazettE. So when you first when you Summer Sonic*, I think RUKI said he wanted to challenge it being a part of visual kei. What do you think about visual kei?
*Summer Sonic = "Summer Sonic 2011" held on August 13 and 14, 2011; the GazettE performed at the Tokyo performance on the 13th.
REITA: Visual kei, what can I say? I guess you could say the image is bad (lol).
Q: Ahaha, I can't disagree (lol).
REITA: But I think it's probably about appearance. Because of that, want it first assessed after seeing a performance. I don't want people to think that you're thrust into visual kei just by doing makeup. The fans come together, we wear such hot clothes, and become dripping with sweat. I don't think anything is more rock than that. I think those are times we wanted those who don't know about visual kei to understand. Even now.
Q: In short, you're very proud of visual kei.
REITA: I am. Saying so, we already think it is just visual kei. But, really, it's common for everyone to hate it.
Q: But I think it's normal, that you shouldn't have to do makeup.
REITA: But then it's not visual kei. Not just the GazettE, it's not the bands I think of. After all, because I am from X (X JAPAN) and LUNA SEA's generation, I have the image that band = visual kei. That's why for me it's natural to do makeup.
Q: Then, instead of compromising over there, let them come here.
REITA: Yeah. So it's as if you say, "just get dressed and get out there." This is natural. It's a conversation of "Do you want to go out there naked?" (lol)
Q: Right? (lol) Going back to 2008's Conifer Forest, what kind of memories do you have?
REITA: This time when we do Fuji Q it'll be different, like "At the venue let's do this," or "have food like this," we didn't have conversations like that at all. That's why it didn't feel like a festival at all. We didn't do any planning like that. We got in the previous day, did rehearsal, did the show, and that was it. This time we're making the best of reflection and giving it even more the flavour of a festival.
At any rate, I want to do lives. Suppose everyone says, "Let's do one live a year?" I'll hit someone (lol).
Q: So you had meetings every week. How was the live itself?
REITA: It was good! Above all, we started the live with a new song, which was something we hadn't done for a while. It was scary. That's why, on that day before releasing it, we did "LEECH"* for the second song, and it yielded a dramatic result. The fans didn't know what it was (lol), but it was a lot of fun. It was the first time in a while. But isn't that like the true essence of a band? Revealing something for the first time at a live, doing it, and then releasing a CD. Before anyone realises, the opposite happens, and you release the record and then have a live. To put it simply, isn't it running away to something more easily understood? I was happy because we could do something different, even though the second song was one that they didn't know, the fans were shaking their heads like crazy. Ah, as expected the GazettE's fans are really good, I thought it was amazing.
*"LEECH" = 13th single released November 2008.
Q: Then for Conifer Forest this time, you hope to produce all the ins-and-outs, and enjoy everything.
REITA: Well, thinking about the 15th anniversary also, this next Fuji Q also seems to include at least 1 song from any age in the past 15 years. So finally, an all-time live is possible. It doesn't end with the 15th anniversary, but this will be the biggest thing. And I always wanted to do it outdoors. We finally did it.
Q: From the get-go, it feels great just to be outside.
REITA: Like an all-you-can-breathe (lol).
Q: But, conversely, why did it take nine years to do again?
REITA: Because not everyone said "Yeah." (lol)
Q: Oh, the GazettE has a principle that everyone must say "yes."
REITA: I'd say "Let's do BURST INTO A BLAZE 3" every now and then, every few years. But, everyone had some trauma. The place where it rained is pretty huge. It felt different from that time, though, and I was more excited than that time (lol).
Q: Then, as for the future, what do you want to do as a band?
REITA: As for the GazettE, like I said before, it's important for me to stay at the forefront, so in order to do that I want to make use of items and turn it into a weapon.
Q: In that sense, the way of fighting may have changed from in the past. 15 years ago you were frantically shooting machine guns, but now you're firing cannons with a bang!
REITA: I try to make each one-by-one more meaningful. Personally, I always want to do a live. But I'm afraid of getting stuck in a rut, so to that end I want to balance things while showing that the GazettE is touring properly. Somehow, if we became a band that only did one or two live shows in a year, I'd want to quit (lol). I guess I'd have no mental health if there are no lives, so if I can do a live my mental health is good. It's probably the same for fans, so we do our best for them, too. Like, "Oh, I need to sweat!" Although, I don't like to knock against others (lol). Even so, nothing beats a live performance.
Q: As for wanting to keep the band going, what do you think? Although, I don't think there's anyone who doesn't want to continue…
REITA: It's close to wanting to continue the band, but I just want to do lives, and if we don't then I don't want to continue. But I don't think there's anyone who's in a band and doesn't do lives (lol).
Q: So, for example, if you were to become a band that just makes records in the future, you'd stop?
REITA: Before that I'd say let's do a live. Suppose everyone says, "Let's do one live a year?" I'll hit someone (lol). That's why lives are important. I have to stand in the presence of others.
Q: Because "Real REITA" is so reserved (lol).
REITA: Yes (lol). After all, do you have to savour the extraordinary every day?
Q: Then what are the goals for "Real REITA" in the future? Before you said that you wanted to lead a peaceful life.
REITA: I do want to live a peaceful life. But only if I can do a live. You'd corner yourself into leading your life peacefully—because you like to. For example, I like wearing hot costumes and covering my face in masks; I like being able to do that. That may be habit, too. I want to live in restrictions.
Q: Oh, so a peaceful life for you doesn't mean that you want to live a life of leisure with comfort.
REITA: I don't mean that. To put it simply, that you can't do an "do all that you want."
Q: I see. I thought you meant that you wanted to sip tea on the porch, like an old man (lol).
REITA: Absolutely not. In any case, I'd be drinking protein (lol).
Q: Aha! But that's not peaceful, that's no different than being stoic (lol).
REITA: No, it's good for mental health. Doesn't it feel like you're always prepared for it?
Q: That gap is like a spring, and when it recoils you can go all the way.
REITA: Yeah. So at any rate, I want to live with high amplitude.
***
Translator's Notes:
2Reita says もっとめちゃくちゃにっていう意味で, which would translate more literally to, "In the sense of being more messed up," but in the broader context this 'being more messed up' doesn't make as much sense to me.
3Left side of the stage from the audience's perspective.
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