I have the feeling that if we want to articulate the feeling of a band, we're finally coming nearer to our ideal.
(I): Regarding the sound approach of “DOGMA“, how did you deal with it?
U: We combined the phrases so it's easier to listen to, now more than ever we had it in our heads how to make it a lighter. That's what we went to do together and faced the recording, didn't we?
A: While we spoke about these feelings, for example as the rhythm side was recording, in fact we inserted the ringing amp and filled the tunes.
U: That's why it wasn't just an meeting, but in fact we put the tunes in, adapted our guitars to each other and tried out what's good and what's bad. Aoi tried to use an tube amplifier too... because you don't know just from imagine it, what effect it will have, so the time he tried it, we judged if it's compatible with my tunes.
A: That means, even though I tried 3 tube amplifier, I didn't even use one of them (lol). It also happens that if you try out something, the image of the sound isn't really the one you'd imagined.
U: We had to sort it out, didn't we.
A: yeah. Because we're a band with a strong character, and in some way or the other the sound too has a strong character, so I guess it's becoming our feature, but I especially thought about where we had a common ground.
(I): for the sake of this, it was first decided, that the tunes of you two will become the basic?
U: yeah, right. In the case of the album, we started with the song that was like a title song. It's a song that brings the album in tune and can adapt the songs to each other. This time that song was „DOGMA“, so we made this song the basic. Until now in the stadium of prepro (programm for musicmaking) the standard was plug in, so it's the first time this time to include the tunes with the recording equipment.
A: Before we concretely thought about what kind of tunes we wanted to make on the spot. But it happened that just the tune making would take a whole day.
(I): But the attempt to save time isn't the reason you're doing this, right?
U: Like expected, it's emotional right. In the early phase we have different opinions. Thereafter as we fix it, we have to record it again, so it's really a lot of effort. The most important is, that the technical surrounding is ready, isn't it.
A: „DEUX“ is also there right? This song was done provisional. But because we put too many tunes in the song, we had to think about it. Probably, because it was in our mind, that we had to record it again, we really devoted ourself to prepare it again.
U: Yeah. At this time, we didn't change our equipment, but after all with this way of recording, we couldn't recover.
(I): At the time of the Budôkan live at the encore, „DEUX“ was the song you played before its release. As I said, as you adapted the two guitars to each other in the album, it really left an impression, on how you made us listen to the song.
U: That's what we actually taked about (lol)
A: Ruki also joins the talk sometimes, right.
U: It's the common ground for a player who want to put your own essence in and for a great creator with an absolute vision. It's not the place for compromises.
A: It's been some time, that we talked that passionately about music. But at these times it also happenes that you get irritated (lol), bit I think it's good, that we can talk this siriously even after more than 10 years.
U: It's important to respect every opinion and to try things out. With trying something out there are also cases where you figure something out for the first time. That's what takes time in recording.
(I): Furthermore the way you listen to the tunes in one go, is nearly the same as the eqipment.
U: that's totally the case.
A: I have the feeling, that if something changes there, the basis for „DOGMA“ that was made by the Gazette, would have changed too, and because everyone understands these tunes, the album didn't change much, I think.
U: Throughout the whole (album) we thought about what we wanted to emphasize and because it's a really strong album, it's better if the tunes are konsequent.
(I): Depending on the tuning of chord A and chord B, are there some changes this time?
U: basically we're using the A chord since earlier, and above the knowledge that its pretty difficult, we dealt with it to the extent that we didn't really felt a difference between the tune quality of chord A and B anymore, this time we got the feeling, that we finally can go with the quality of the chord A. We finished it with a unexpectedly raw feeling.
A: Our right answer was, to make very clear tunes, to say so, because our way of producing tunes that had a pretty low pitch extent, that's normal for chord A and B, but it's rarely tunes in the GazettE. That's not something we're thinking to change.
(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.
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