"Kami Uta" & "Tsurezurenaru Mama Ni..." Interview
Kagrra has continued from "Genwaku no Joukei" in April, and "Memai" in May, so the third of the venue and mail order limited releases across 4 months is "Kami Uta" and the fourth is "Tsurezurenaru mama ni..." Each of these 4 works are richly planned musical compositions with imagery of the passing seasons, which once again deepen their worldview.
This time, in the glamour of their newest costumes, the members are talking about their 2 newest singles.
This time, in the glamour of their newest costumes, the members are talking about their 2 newest singles.
―In what way did you work on your 2 singles this time?
Nao: Izumi and I worked smoothly on the prototype. (laughs) Izumi would say things like "I wonder if this kind of rhythm would be good for this phrase?" and from there I'd add in the bass.
―How did you imagine the music in the beginning?
Nao: A "warm" image, or should I say, a sultry night. I said that to everyone but something... a slightly different image set in too... we're arriving at that now.
―That was quite a lot of pause, wasn't it? (laughs) How did you receive that, Izumi?
Izumi: Moving along from our previous single, at the very beginning there's imagery of "Summer", and from there Nao was saying things like "it's something like samba or a carnival." (laughs) I thought we'd somehow use that imagery just as it was, so first of all I applied it to the drums thinking strongly about only that. And then I went to Nao's place and we decided it while talking about it together.
Nao: For "Kami Uta" I have a strong image of acoustic guitar, so that's what I wanted Akiya to do.
Akiya: But that'll be difficult when it comes time for lives. (wry smile) I listened about the image of things like sultry nights and samba, but I don't feel it like that at all. (laughs) If I talk about those I'm aware of a refreshing feeling like a pool in the summer, and a feeling of the song's sprint. And when I listen to the melody clearly, feeling the mood was important, I composed at the same time.
Shin: I didn't get the "samba" image from it either. (laughs) The resonance of the "Kami" in "Kami Uta" puts a lot of importance on the mood. When I listened to the steps by which the rhythm was recorded, it really felt like leaping, so from that point I had to match with the snare.
―And from there the rhythm became clearer, right?
Shin: In the beginning I was just making a lot of noise, but when I saw that I had to match with Akiya, of course we got better.
―Something was on my mind for a while, did the title come before you made the song?
Isshi: That's right. (laughs) We did "Kami Uta"in this order: title→rhythm→melody→lyrics. (laughs)
―That's an amazing sequence of events isn't it? (laughs)
Nao: Because the words "Kami Uta" and "Summer" are keywords at the same time, it follows in leaps from there. Summer, sultry nights, samba... it's a little disconnected, isn't it? (laughs)
Isshi: I always think about the titles, but "Genwaku no Joukei" and "Memai" which we released in April and May had imagery of winter and autumn respectively. And since the next songs continue with summer and spring... somehow "Kami Uta" is "summer" for me.
Everyone: Ummm...
Akiya: It's getting more muddled. (laughs)
Shin: The details are completely obscure! (laughs)
Isshi: So when all 5 of us finally agreed on the imagery, we completed the song... From that point, while I was thinking about the lyrics as usual, I put them to the song melody, but I couldn't think about any lyrics related to the melody of this song... in the end, I wrote using certain Japanese folklore as the motif.
―Ahh, and the sensation of Japanese style was strong because of that. The guitar phrases in the interlude of this song feel good too.
Akiya: Up until now I've done guitar-solos as something individually, but the phrase in this song was quite natural so the guitar in the interlude came smoothly.
―I see. And what about "Tsurezurenaru mama ni..."?
Isshi: I did only the chords for the original song, and I was embarrassed when I handed it in to everyone. (laughs) I was a guitar kid, but I don't play diligently. (wry smile) So I requested to our guitarist, 'Please make this into a good phrase'.
Akiya: But because the chords are attached it's easy to do. It had a rhythm like in "Kami Uta" but when I added the guitar we could move in various directions...
Shin: So, in the end we had the sound.
Akiya: There were a lot of parts like that until we finished with "Kami Uta".
Isshi: And besides, my explanation seemed to be obscure...
―What did you explain?
Isshi: I'd only say things like, "Make this pretty."
―If that's the case, wouldn't it be hard to understand?
Isshi: Isn't that right?
Akiya: But it's an Isshi-like song.
Shin: Yeah, it certainly feels like Isshi composed it.
Akiya: I was told by Isshi to "make the chorus Kyoto-ish." (laughs)
Isshi: Yeah, like in a commercial that makes you want to go to Kyoto. (laughs)
Akiya: But in the beginning it had a France touch. (laughs)
Isshi: I like chords that are like French things. That's related to Kyoto for me. Kyoto and France are sister cities, aren't they? It's due to that, I guess? (laughs)
―Even so, you have a peculiar sensitivity for that relation. (laughs) The sound makes the best use of your high-tone vocals, which definitely brings about the Kagrra-ness.
Isshi: We definitely want you to look forward to the release in July.
―Incidentally, you're preparing for a joint tour with Due le Quartz & Ash in August, but please tell us about the latest consideration for your band presentation.
Isshi: (like in the photos) Our costumes will be summery kimono. (laughs) On August 2nd there's a video shooting and live at Kumagaya VOGUE, and on the 3rd, Nao will independently...
Nao: I'm modeling for the Cinderella role in a show at Osaka Big Cat!
―But what about Isshi-kun...? (laughs)
Nao: Right. (wry smile)
Isshi: But that role doesn't suit me. But I think it suits Nao. If we're talking about which role I'd do, it can't look human. (laughs) I wonder if it'd be something that comes from a haunted house. If it was that kind of role, I'd have extreme self-confidence.
Everyone: (bursts out laughing)
Nao: When it's time for that show, I'll be going to Osaka by Shinkansen! Speaking of Shinkansen, can I bring my box lunch?
Everyone: (uproarious laughter)
Nao: Izumi and I worked smoothly on the prototype. (laughs) Izumi would say things like "I wonder if this kind of rhythm would be good for this phrase?" and from there I'd add in the bass.
―How did you imagine the music in the beginning?
Nao: A "warm" image, or should I say, a sultry night. I said that to everyone but something... a slightly different image set in too... we're arriving at that now.
―That was quite a lot of pause, wasn't it? (laughs) How did you receive that, Izumi?
Izumi: Moving along from our previous single, at the very beginning there's imagery of "Summer", and from there Nao was saying things like "it's something like samba or a carnival." (laughs) I thought we'd somehow use that imagery just as it was, so first of all I applied it to the drums thinking strongly about only that. And then I went to Nao's place and we decided it while talking about it together.
Nao: For "Kami Uta" I have a strong image of acoustic guitar, so that's what I wanted Akiya to do.
Akiya: But that'll be difficult when it comes time for lives. (wry smile) I listened about the image of things like sultry nights and samba, but I don't feel it like that at all. (laughs) If I talk about those I'm aware of a refreshing feeling like a pool in the summer, and a feeling of the song's sprint. And when I listen to the melody clearly, feeling the mood was important, I composed at the same time.
Shin: I didn't get the "samba" image from it either. (laughs) The resonance of the "Kami" in "Kami Uta" puts a lot of importance on the mood. When I listened to the steps by which the rhythm was recorded, it really felt like leaping, so from that point I had to match with the snare.
―And from there the rhythm became clearer, right?
Shin: In the beginning I was just making a lot of noise, but when I saw that I had to match with Akiya, of course we got better.
―Something was on my mind for a while, did the title come before you made the song?
Isshi: That's right. (laughs) We did "Kami Uta"in this order: title→rhythm→melody→lyrics. (laughs)
―That's an amazing sequence of events isn't it? (laughs)
Nao: Because the words "Kami Uta" and "Summer" are keywords at the same time, it follows in leaps from there. Summer, sultry nights, samba... it's a little disconnected, isn't it? (laughs)
Isshi: I always think about the titles, but "Genwaku no Joukei" and "Memai" which we released in April and May had imagery of winter and autumn respectively. And since the next songs continue with summer and spring... somehow "Kami Uta" is "summer" for me.
Everyone: Ummm...
Akiya: It's getting more muddled. (laughs)
Shin: The details are completely obscure! (laughs)
Isshi: So when all 5 of us finally agreed on the imagery, we completed the song... From that point, while I was thinking about the lyrics as usual, I put them to the song melody, but I couldn't think about any lyrics related to the melody of this song... in the end, I wrote using certain Japanese folklore as the motif.
―Ahh, and the sensation of Japanese style was strong because of that. The guitar phrases in the interlude of this song feel good too.
Akiya: Up until now I've done guitar-solos as something individually, but the phrase in this song was quite natural so the guitar in the interlude came smoothly.
―I see. And what about "Tsurezurenaru mama ni..."?
Isshi: I did only the chords for the original song, and I was embarrassed when I handed it in to everyone. (laughs) I was a guitar kid, but I don't play diligently. (wry smile) So I requested to our guitarist, 'Please make this into a good phrase'.
Akiya: But because the chords are attached it's easy to do. It had a rhythm like in "Kami Uta" but when I added the guitar we could move in various directions...
Shin: So, in the end we had the sound.
Akiya: There were a lot of parts like that until we finished with "Kami Uta".
Isshi: And besides, my explanation seemed to be obscure...
―What did you explain?
Isshi: I'd only say things like, "Make this pretty."
―If that's the case, wouldn't it be hard to understand?
Isshi: Isn't that right?
Akiya: But it's an Isshi-like song.
Shin: Yeah, it certainly feels like Isshi composed it.
Akiya: I was told by Isshi to "make the chorus Kyoto-ish." (laughs)
Isshi: Yeah, like in a commercial that makes you want to go to Kyoto. (laughs)
Akiya: But in the beginning it had a France touch. (laughs)
Isshi: I like chords that are like French things. That's related to Kyoto for me. Kyoto and France are sister cities, aren't they? It's due to that, I guess? (laughs)
―Even so, you have a peculiar sensitivity for that relation. (laughs) The sound makes the best use of your high-tone vocals, which definitely brings about the Kagrra-ness.
Isshi: We definitely want you to look forward to the release in July.
―Incidentally, you're preparing for a joint tour with Due le Quartz & Ash in August, but please tell us about the latest consideration for your band presentation.
Isshi: (like in the photos) Our costumes will be summery kimono. (laughs) On August 2nd there's a video shooting and live at Kumagaya VOGUE, and on the 3rd, Nao will independently...
Nao: I'm modeling for the Cinderella role in a show at Osaka Big Cat!
―But what about Isshi-kun...? (laughs)
Nao: Right. (wry smile)
Isshi: But that role doesn't suit me. But I think it suits Nao. If we're talking about which role I'd do, it can't look human. (laughs) I wonder if it'd be something that comes from a haunted house. If it was that kind of role, I'd have extreme self-confidence.
Everyone: (bursts out laughing)
Nao: When it's time for that show, I'll be going to Osaka by Shinkansen! Speaking of Shinkansen, can I bring my box lunch?
Everyone: (uproarious laughter)