Isshi's Road Through History: the way of Kagura
Part 8: "Hoozuki"
Part 8: "Hoozuki"
Vermilion tassels colour the early summer.
People in ancient times selected these as paper lanterns to guide the spirits of the deceased, and gave it the name "Hoozuki." This is the 8th installment of the irregular series "Isshi's Road Through History: the way of Kagura." The theme chosen for this one is "Hoozuki", recorded on their newest album "Shu." We asked Isshi how he sees the world depicted in this beautifully transient song. Now he's also preparing for the upcoming oneman live "～Shu～Kagura Gengi" that will be held at Tokyo Kokusai Forum Hall C on June 6th. Once again he spoke to us thoroughly.
People in ancient times selected these as paper lanterns to guide the spirits of the deceased, and gave it the name "Hoozuki." This is the 8th installment of the irregular series "Isshi's Road Through History: the way of Kagura." The theme chosen for this one is "Hoozuki", recorded on their newest album "Shu." We asked Isshi how he sees the world depicted in this beautifully transient song. Now he's also preparing for the upcoming oneman live "～Shu～Kagura Gengi" that will be held at Tokyo Kokusai Forum Hall C on June 6th. Once again he spoke to us thoroughly.
I just noticed that it's been over a year since last time. It's a long time since the previous "Isshi's Road Through History: the way of Kagura" but, what is the reason you chose "Hoozuki" this time, Isshi-kun?
Isshi: First of all, this is simply the one song for which the lyrics are myself. Also, I think this song has a bit of a new component that makes a logical connection to Kagrra up to this point. I guess it has a certain kind of ordinary 'Japanese Style' feeling.
This "Hoozuki" is recorded on your latest album "Shu" but originally it was a coupling track on the single "Uzu" and at the same time it was the theme song in the drama "Kaidan: Shin Mimibukuro" wasn't it?
Isshi: Ahh, but it wasn't that we recorded it for the drama in advance. It was more that we talked about it after we did that, and thought about how this song might be for such a plan.
First of all, what kind of world do you depict in "Hoozuki," Isshi?
Isshi: We were thinking from the beginning that we wanted to compose something relatively new, with a horror component as the axis.
Naturally, because you host ghost story events (irregular talk events titled Isshi Mimibukuro, with Isshi and his coach Kihara Hirokatsu), depicting a world of horror is your field of expertise isn't it Isshi?
Isshi: That's right. (laughs) However, even the word 'horror' has various meanings. In particular, there's a recent trend of ordinary horror movies so to speak, and aren't there things like horror drama endings, and an excessive amount of metal-ish things?
When it's said like that... it seems so.
Isshi: And really, there are a lot of pretty violent genres. I should wipe away that standard image, I wanted to try making something exactly like "This will be the one when listeners feel emotion after hearing this piece!"
As a result, isn't "Hoozuki" a musical composition with a world of sound flooded in lingering melodies, and a world of lyrics that were materialized?
Isshi: As you'd expect, in the case of horror that makes you feel the Japanese style, I think the important thing is an "obscure" fear, isn't it? That kind of sensation is precisely what we expressed in this song.
I understand that the nature of the fear brought about by Western horror and Japanese horror is completely different, isn't it?
Isshi: Speaking of Western horror, to call it authentic there are a lot of things like 'splatters' aren't there? I even like Western horror for what it is. But, though I saw the period of time when Hollywood was often doing remakes of Japanese horror, I think it's certain that the charm of things like Japanese horror and ghost stories is a peculiar world.
I think feelings with regards to the sense of fear may be born from differences in things like cultural background, religious views, and perspective on nature, but what do you think the differences are between Eastern and Western horror on that point, Isshi?
Isshi: It might be a positive affirmation on the existence of spirits? On the other hand, I would conclude in the end that human beings are the most scary, and aren't there a lot of people like that?
Thinking about how that point of view originated, it seems like the world of "Hoozuki" that you embodied here this time is filled with Japanesque feelings and appearances.
Isshi: What I wanted to show here is a "contradiction."
"Hoozuki" is certainly a story of a person who couldn't withstand the contradictions, isn't it?
Isshi: That's right. Because in the end "He" will break it with his own hands. Or should I say, he'll kill.
It's a very serious story, but what kind of thing gave you the idea for this?
Isshi: The word "Hoozuki" existed as a hit word for me from before this, and I thought 'someday I want to try writing a song with that theme'. Then, when I checked up on various things regarding this word, I noticed that it became a general theme of "contradiction."
Speaking of these lyrics, it's that with his own hands the protagonist breaks a person who is probably his beloved, and 'my existence and his deeds are surely filled with contradiction', right?
Isshi: After all, isn't it that there are a lot of such things in the world? Like 'If I become someone else's, I'd rather go by my own hands...' So, the truth is, such matters are part of the basis of Japanese horror, I think.
Was it that you wanted to monopolize on a strong contradiction for this, Isshi?
Isshi: That's right. It's a kind of sense that you needn't understand to have it.
But Isshi, aren't you the one who actually wrote these lyrics?
Isshi: When I start to think about it, I have pretty mixed feelings. From the time I was small I was the type who if I didn't have my favourite things and the things I liked in my hands, I wouldn't settle down.
In other words, it was always necessary to have two favourites right?
Isshi: That's right. Whether it was controlled models or plastic models, I'd start out by buying two of the same item and one of them I'd use within an inch of its life while the other I'd set aside so it would stay in beautiful condition.
I see. The desire to use your things until you're satisfied, and the feeling that you want to treasure your things, you fulfilled both parts in such a way didn't you? Speaking of which, if they're things then this method may be possible, but on the other hand if it were a person, how the heck would you do it??
Isshi: Ahh, right. Maybe. Maybe, but, I think that such a thing is a contradiction, that surely it would bring out both sides of S and M in someone's heart, wouldn't it?
Good gracious, does it come to be like that?
Isshi: Because look, it's often just said 'Which, S or M?' isn't it? People, more or less, have both components. That being said, I think there's surely a chance that both facets come into contact with each other. Ahh, in my case I adhere to that too much with regards to people, but I don't have much of the thing itself.
That's dry humour isn't it, Isshi?
Isshi: That's pretty much it. (laughs) I don't want to impose anything, and I personally hate being imposed upon.
So a sense of distance is important for you. It seems like it's a bit of a strange thing that you would write lyrics like "Hoozuki".
Isshi: Because when I write lyrics, that has objectivity. Depicting it as a thorough story, and with the intuition of the kind of person who writes this, it isn't "me." For instance, with things like Yokomizo Seishi's series, the story progresses and "Novelist" doesn't come up in the work, does it? It's something very close to that.
In that case, in what way do you personally see the "He" who committed a sin in "Hoozuki", Isshi?
Isshi: He's the kind of human who likes himself. And with regards to "The self who did this thing" he might be a human who has a sense of aesthetic.
You dressed as that kind of guy and a background was necessary, but there's a reason for having done this in a graveyard this time isn't there?
Isshi: It would've been fine even if it wasn't an actual grave site, but I wanted something in the image to be a grave-marker. To say it in a way that's easy to understand, I guess we made it "this way." Because it's a place with a connection to death, right? Therefore, he's wearing his mourning clothes here. There's also a reason that his hair is that kind of colour.
The meaning of that is?
Isshi: After all, when he's done worrying in his peculiar way, he cornered himself and did such a thing, and it's nothing more than that. But on the other hand, it can mean something like he felt a natural staggering shock and so his hair became white in the end. That kind of thing.
Everyone can enjoy the cruel, sad, and beautiful world of "Hoozuki" once again with these photographs.
Isshi: If it makes them feel some kind of strong emotion, then I'm happy. It'd be worth going to the graveyard early in the morning to take pictures. (laughs)
Well. This edition will soon be out, and Kagrra, will be holding "～Shu～Kagura Gengi" as the first oneman live in quite a while, so what kind of live do you think it'll be?
Isshi: There are heaps of things we want to do, and I wonder to what extent they can all take form. I think I'll be thinking it through in the time from now until the live.
Isshi: First of all, this is simply the one song for which the lyrics are myself. Also, I think this song has a bit of a new component that makes a logical connection to Kagrra up to this point. I guess it has a certain kind of ordinary 'Japanese Style' feeling.
This "Hoozuki" is recorded on your latest album "Shu" but originally it was a coupling track on the single "Uzu" and at the same time it was the theme song in the drama "Kaidan: Shin Mimibukuro" wasn't it?
Isshi: Ahh, but it wasn't that we recorded it for the drama in advance. It was more that we talked about it after we did that, and thought about how this song might be for such a plan.
First of all, what kind of world do you depict in "Hoozuki," Isshi?
Isshi: We were thinking from the beginning that we wanted to compose something relatively new, with a horror component as the axis.
Naturally, because you host ghost story events (irregular talk events titled Isshi Mimibukuro, with Isshi and his coach Kihara Hirokatsu), depicting a world of horror is your field of expertise isn't it Isshi?
Isshi: That's right. (laughs) However, even the word 'horror' has various meanings. In particular, there's a recent trend of ordinary horror movies so to speak, and aren't there things like horror drama endings, and an excessive amount of metal-ish things?
When it's said like that... it seems so.
Isshi: And really, there are a lot of pretty violent genres. I should wipe away that standard image, I wanted to try making something exactly like "This will be the one when listeners feel emotion after hearing this piece!"
As a result, isn't "Hoozuki" a musical composition with a world of sound flooded in lingering melodies, and a world of lyrics that were materialized?
Isshi: As you'd expect, in the case of horror that makes you feel the Japanese style, I think the important thing is an "obscure" fear, isn't it? That kind of sensation is precisely what we expressed in this song.
I understand that the nature of the fear brought about by Western horror and Japanese horror is completely different, isn't it?
Isshi: Speaking of Western horror, to call it authentic there are a lot of things like 'splatters' aren't there? I even like Western horror for what it is. But, though I saw the period of time when Hollywood was often doing remakes of Japanese horror, I think it's certain that the charm of things like Japanese horror and ghost stories is a peculiar world.
I think feelings with regards to the sense of fear may be born from differences in things like cultural background, religious views, and perspective on nature, but what do you think the differences are between Eastern and Western horror on that point, Isshi?
Isshi: It might be a positive affirmation on the existence of spirits? On the other hand, I would conclude in the end that human beings are the most scary, and aren't there a lot of people like that?
Thinking about how that point of view originated, it seems like the world of "Hoozuki" that you embodied here this time is filled with Japanesque feelings and appearances.
Isshi: What I wanted to show here is a "contradiction."
"Hoozuki" is certainly a story of a person who couldn't withstand the contradictions, isn't it?
Isshi: That's right. Because in the end "He" will break it with his own hands. Or should I say, he'll kill.
It's a very serious story, but what kind of thing gave you the idea for this?
Isshi: The word "Hoozuki" existed as a hit word for me from before this, and I thought 'someday I want to try writing a song with that theme'. Then, when I checked up on various things regarding this word, I noticed that it became a general theme of "contradiction."
Speaking of these lyrics, it's that with his own hands the protagonist breaks a person who is probably his beloved, and 'my existence and his deeds are surely filled with contradiction', right?
Isshi: After all, isn't it that there are a lot of such things in the world? Like 'If I become someone else's, I'd rather go by my own hands...' So, the truth is, such matters are part of the basis of Japanese horror, I think.
Was it that you wanted to monopolize on a strong contradiction for this, Isshi?
Isshi: That's right. It's a kind of sense that you needn't understand to have it.
But Isshi, aren't you the one who actually wrote these lyrics?
Isshi: When I start to think about it, I have pretty mixed feelings. From the time I was small I was the type who if I didn't have my favourite things and the things I liked in my hands, I wouldn't settle down.
In other words, it was always necessary to have two favourites right?
Isshi: That's right. Whether it was controlled models or plastic models, I'd start out by buying two of the same item and one of them I'd use within an inch of its life while the other I'd set aside so it would stay in beautiful condition.
I see. The desire to use your things until you're satisfied, and the feeling that you want to treasure your things, you fulfilled both parts in such a way didn't you? Speaking of which, if they're things then this method may be possible, but on the other hand if it were a person, how the heck would you do it??
Isshi: Ahh, right. Maybe. Maybe, but, I think that such a thing is a contradiction, that surely it would bring out both sides of S and M in someone's heart, wouldn't it?
Good gracious, does it come to be like that?
Isshi: Because look, it's often just said 'Which, S or M?' isn't it? People, more or less, have both components. That being said, I think there's surely a chance that both facets come into contact with each other. Ahh, in my case I adhere to that too much with regards to people, but I don't have much of the thing itself.
That's dry humour isn't it, Isshi?
Isshi: That's pretty much it. (laughs) I don't want to impose anything, and I personally hate being imposed upon.
So a sense of distance is important for you. It seems like it's a bit of a strange thing that you would write lyrics like "Hoozuki".
Isshi: Because when I write lyrics, that has objectivity. Depicting it as a thorough story, and with the intuition of the kind of person who writes this, it isn't "me." For instance, with things like Yokomizo Seishi's series, the story progresses and "Novelist" doesn't come up in the work, does it? It's something very close to that.
In that case, in what way do you personally see the "He" who committed a sin in "Hoozuki", Isshi?
Isshi: He's the kind of human who likes himself. And with regards to "The self who did this thing" he might be a human who has a sense of aesthetic.
You dressed as that kind of guy and a background was necessary, but there's a reason for having done this in a graveyard this time isn't there?
Isshi: It would've been fine even if it wasn't an actual grave site, but I wanted something in the image to be a grave-marker. To say it in a way that's easy to understand, I guess we made it "this way." Because it's a place with a connection to death, right? Therefore, he's wearing his mourning clothes here. There's also a reason that his hair is that kind of colour.
The meaning of that is?
Isshi: After all, when he's done worrying in his peculiar way, he cornered himself and did such a thing, and it's nothing more than that. But on the other hand, it can mean something like he felt a natural staggering shock and so his hair became white in the end. That kind of thing.
Everyone can enjoy the cruel, sad, and beautiful world of "Hoozuki" once again with these photographs.
Isshi: If it makes them feel some kind of strong emotion, then I'm happy. It'd be worth going to the graveyard early in the morning to take pictures. (laughs)
Well. This edition will soon be out, and Kagrra, will be holding "～Shu～Kagura Gengi" as the first oneman live in quite a while, so what kind of live do you think it'll be?
Isshi: There are heaps of things we want to do, and I wonder to what extent they can all take form. I think I'll be thinking it through in the time from now until the live.
Notes:
My translation of Hoozuki is here (and was also linked in the interview).
A long time ago on my old translating LJ, someone asked me to translate this interview. Now I've finally done that. I don't remember who asked me (and that LJ is deleted now I think) but... whoever you are, if you are reading this, I dedicate this translation to you!