Memories of Summer Evenings
The scent of wind spanning the mountains. The colour of sunflowers that bend a little in the sun. Thoughts that resemble the feeling of summer days when they were young... The summer depicted by Kagrra, comes together here in their song called "Rin". The single "Rin" that'll be released on July 21st has 3 songs including the title song, and is a perfect work for Kagrra as they are now. Finally, a countrywide tour is right before our eyes after a long time. Kagrra's summer will be decided here!
―The anticipated single "Rin" has been released, and all of the songs this time are only new compositions right?
Akiya: Recollecting when we made our previous album, the experience was that we worked our hardest throughout and wavered only at the last moment, so this time I think we made it with a lot of time to spare.
Shin: After the Shibuko live we wanted to put out a single so we worked on rough copies of each of the songs. We got together after that to choose songs and for preprogramming, and it flowed from there.
―And that was when you decided upon "Rin" as the title song this time, but what was the biggest reason that you thought "Let's go with this"?
Isshi: It happened just when we were composing it, making the song progressed as usual at first, and basically it was a "summer" thing. The theme I mean. So, while we were doing various things, it was like this one was the most summery.
―The credit is written as Kagrra, but who composed the song?
Akiya: It was me. Actually, to tell the truth about this, it isn't a genuine new song but a song that I had composed prior on my own. It was just the chorus that I composed around the time of "Ouka Ranman" I think. The office manager told me it was a good song at that time, but we didn't actually use it then, so I brought it out now and reworked it.
―How was that process?
Izumi: Somehow it felt like the way we often did things in the past. We all go to the studio, and from there we go home to tweak things, that kind of feeling. We didn't worry about it much, you know?
Akiya: Yeah, that might be it.
―Ah, and the song itself is powerful as a completed work. Even more than I thought, It was probably difficult to make the song yourselves.
Isshi: Yeah. It was pretty difficult for me.
Shin: It was. We were deciding on the melody right up to the end. Like we were all disagreeing on it. (laughs)
―Ah... certainly, the song melody is something complex this time isn't it?
Isshi: It was difficult, this time. While we were working on the original form, partway through I had to take time off from things like campaigning, but suddenly I got a phonecall (from the Director) who said "Well we wanted something that feels different," and I could do nothing at all about it except play guitar in my hotel. But in the end none of it was OK and after I returned to Tokyo I had to fix it many times, and we actually finished recording in the nick of time.
―I see. This "Rin" certainly has a Kagrra-like catchiness that is overflowing with your energy as a band, but that aside it has an awesome melody development doesn't it?
Isshi: It was difficult, honestly. First, the major premise is to make people feel 'Wa' as the focal point of Kagrra, and I'm basically no good at this kind of brightness. (wry smile)
―Speaking of brightness, this doesn't have the brightness of a typical summer song though, does it? (laughs)
Isshi: But no matter which it is, I like songs with a minor melody, personally. Since the melody this time isn't just me, it was worked on by everyone, it happened that I was helped by everyone.
―The outcome is that although the song has difficult lines in this way, isn't it still something that you could sing well?
Isshi: Because as usual, it feels like I'm going from low to high.
―That's for your singing range, but the development is also complex isn't it? Suddenly going up from these sounds?! That part.
Isshi: When we compose, we write the music notes first of all, and at that point in time I don't think much about how I'm going to sing. Furthermore, this is always how we've done it up until now so this time I had to force it. (wry smile)
―You did well. Saying that, I don't think it sounds "forced", I think it sounds awesome.
Isshi: Yeah, ah, something like that. (laughs)
―But when the song melody is in flux to that extent, that's difficult for the string unit during preprogramming too isn't it? I'm thinking about the notes you hit.
Akiya: Thinking about the chords, that's certainly spot on. But, that's not so difficult.
Akiya: Recollecting when we made our previous album, the experience was that we worked our hardest throughout and wavered only at the last moment, so this time I think we made it with a lot of time to spare.
Shin: After the Shibuko live we wanted to put out a single so we worked on rough copies of each of the songs. We got together after that to choose songs and for preprogramming, and it flowed from there.
―And that was when you decided upon "Rin" as the title song this time, but what was the biggest reason that you thought "Let's go with this"?
Isshi: It happened just when we were composing it, making the song progressed as usual at first, and basically it was a "summer" thing. The theme I mean. So, while we were doing various things, it was like this one was the most summery.
―The credit is written as Kagrra, but who composed the song?
Akiya: It was me. Actually, to tell the truth about this, it isn't a genuine new song but a song that I had composed prior on my own. It was just the chorus that I composed around the time of "Ouka Ranman" I think. The office manager told me it was a good song at that time, but we didn't actually use it then, so I brought it out now and reworked it.
―How was that process?
Izumi: Somehow it felt like the way we often did things in the past. We all go to the studio, and from there we go home to tweak things, that kind of feeling. We didn't worry about it much, you know?
Akiya: Yeah, that might be it.
―Ah, and the song itself is powerful as a completed work. Even more than I thought, It was probably difficult to make the song yourselves.
Isshi: Yeah. It was pretty difficult for me.
Shin: It was. We were deciding on the melody right up to the end. Like we were all disagreeing on it. (laughs)
―Ah... certainly, the song melody is something complex this time isn't it?
Isshi: It was difficult, this time. While we were working on the original form, partway through I had to take time off from things like campaigning, but suddenly I got a phonecall (from the Director) who said "Well we wanted something that feels different," and I could do nothing at all about it except play guitar in my hotel. But in the end none of it was OK and after I returned to Tokyo I had to fix it many times, and we actually finished recording in the nick of time.
―I see. This "Rin" certainly has a Kagrra-like catchiness that is overflowing with your energy as a band, but that aside it has an awesome melody development doesn't it?
Isshi: It was difficult, honestly. First, the major premise is to make people feel 'Wa' as the focal point of Kagrra, and I'm basically no good at this kind of brightness. (wry smile)
―Speaking of brightness, this doesn't have the brightness of a typical summer song though, does it? (laughs)
Isshi: But no matter which it is, I like songs with a minor melody, personally. Since the melody this time isn't just me, it was worked on by everyone, it happened that I was helped by everyone.
―The outcome is that although the song has difficult lines in this way, isn't it still something that you could sing well?
Isshi: Because as usual, it feels like I'm going from low to high.
―That's for your singing range, but the development is also complex isn't it? Suddenly going up from these sounds?! That part.
Isshi: When we compose, we write the music notes first of all, and at that point in time I don't think much about how I'm going to sing. Furthermore, this is always how we've done it up until now so this time I had to force it. (wry smile)
―You did well. Saying that, I don't think it sounds "forced", I think it sounds awesome.
Isshi: Yeah, ah, something like that. (laughs)
―But when the song melody is in flux to that extent, that's difficult for the string unit during preprogramming too isn't it? I'm thinking about the notes you hit.
Akiya: Thinking about the chords, that's certainly spot on. But, that's not so difficult.
―I think it's exceptionally cool to have that intro guitar riff right at the start, but how did you come up with that?
Akiya: That was just as usual. When we were playing in the studio, it happened naturally.
Shin: The scaling is interesting for that.
―That's right. The pretty phrase you composed was different, and that has a little of the wild feeling of rock.
Akiya: That was the flow that was building steadily within us. We wanted to do something masculine, not feminine. So this time, everyone backed us fiercely and I think we could do what we wanted.
Shin: And since I compose my own phrases when listening to Akki's guitar, as you'd expect I made it fierce too. And in the meantime it's true that I even worked in the acoustic guitar.
―I think it's a good ensemble.
Shin: It's not quiet because it's acoustic guitar, but I think it has an exquisite feeling. For something we haven't done before we did it well.
―From there, for the feeling of dashing through this song, I'm thinking of what the rhythm unit brings of course. How was your approach to that this time?
Izumi: For this song, our sense of the rhythm gradually changed as it developed, and it wasn't easy by any means.
―Talking about it here as a single, I think Izumi's playing tends to be intentionally simple, but this time it's just the opposite, with complex and diverse rhythms that are still basically Izumi-like.
Izumi: Ahh, yeah. That's right.
Akiya: That was just as usual. When we were playing in the studio, it happened naturally.
Shin: The scaling is interesting for that.
―That's right. The pretty phrase you composed was different, and that has a little of the wild feeling of rock.
Akiya: That was the flow that was building steadily within us. We wanted to do something masculine, not feminine. So this time, everyone backed us fiercely and I think we could do what we wanted.
Shin: And since I compose my own phrases when listening to Akki's guitar, as you'd expect I made it fierce too. And in the meantime it's true that I even worked in the acoustic guitar.
―I think it's a good ensemble.
Shin: It's not quiet because it's acoustic guitar, but I think it has an exquisite feeling. For something we haven't done before we did it well.
―From there, for the feeling of dashing through this song, I'm thinking of what the rhythm unit brings of course. How was your approach to that this time?
Izumi: For this song, our sense of the rhythm gradually changed as it developed, and it wasn't easy by any means.
―Talking about it here as a single, I think Izumi's playing tends to be intentionally simple, but this time it's just the opposite, with complex and diverse rhythms that are still basically Izumi-like.
Izumi: Ahh, yeah. That's right.
―I think you've probably made it simple for the singles up until now, but what was the reason you decided on a different method this time?
Izumi: Well, that's a difficult conversation. There was a phrase in the steps for the original melody, and this time I decided to take it at face value. If I'd done it as usual, I'd be thinking a little about a balanced recording, but this time I felt like I deliberately wanted to try it with the style as it was, so it became like this. I wanted to play it as it was in my head.
―And at the same time, Nao's playing is also incredibly flashy. You've got something quite delicious haven't you?
Nao: Yeah, I've got it! (smiling with his whole face)
―You seem happy. (laughs)
Nao: Saying that, I felt that I was going along with Izumi's vigor. It was so fun to do!
Akiya: It was interesting for us too, like 'Ahh you want to try that style'.
Shin: But it wasn't that we particularly talked about those details. I felt that it somehow came mysteriously in part from each of us. So I think surely that was how it took form.
Nao: Also known as the Kagrra, groove. (laughs)
Everyone: (laughs)
―Moving on from there, when I listen to Rin's lyrics I wonder what kind of thoughts you had while writing it?
Isshi: I think we talked a little about it before, but I have the "Kousetsu Hyakumonogatari" books (written by Kyougoku Natsuhiko), and the protagonist (Yamaoka Momosuke) died. That was precisely in summer. That was awfully sad for me, so I made it the theme.
Izumi: Well, that's a difficult conversation. There was a phrase in the steps for the original melody, and this time I decided to take it at face value. If I'd done it as usual, I'd be thinking a little about a balanced recording, but this time I felt like I deliberately wanted to try it with the style as it was, so it became like this. I wanted to play it as it was in my head.
―And at the same time, Nao's playing is also incredibly flashy. You've got something quite delicious haven't you?
Nao: Yeah, I've got it! (smiling with his whole face)
―You seem happy. (laughs)
Nao: Saying that, I felt that I was going along with Izumi's vigor. It was so fun to do!
Akiya: It was interesting for us too, like 'Ahh you want to try that style'.
Shin: But it wasn't that we particularly talked about those details. I felt that it somehow came mysteriously in part from each of us. So I think surely that was how it took form.
Nao: Also known as the Kagrra, groove. (laughs)
Everyone: (laughs)
―Moving on from there, when I listen to Rin's lyrics I wonder what kind of thoughts you had while writing it?
Isshi: I think we talked a little about it before, but I have the "Kousetsu Hyakumonogatari" books (written by Kyougoku Natsuhiko), and the protagonist (Yamaoka Momosuke) died. That was precisely in summer. That was awfully sad for me, so I made it the theme.
―But that can't be all of it, surely you must depict your own ideas of summer as well, Isshi?
Isshi: Yeah. When I imagine that summer, I feel that the song itself opens up in the chorus, and it's not how I usually express myself. It's a sudden change, but it feels like the lonely evenings of Nagano summer.
―Ah, it sort of brings a movie to mind.
Isshi: Like going back in the evening on a tractor. I remember when I was a little boy that I've often seen that kind of sorrowful sight. So, the lyrics of "Rin" are what come to mind when I represent things like those various stories and sights. Also, I think the character '凛' has a cool design, and so I used it for the title.(*1)
―You've depicted a summer characteristic of Kagrra,.
Isshi: That's different than sweat and darkened skin. (laughs) I think it's like a Japanese summer.
―And speaking of Japanese summer, festivals are important events too, and the coupling song "Matsuri" is surely full of the atmosphere of a festival.
Isshi: The rhythm unit composed it, but this one was "Matsuri" from the beginning.
Izumi: We want to have a song that makes anyone who listens imagine a festival, so we started composing with that in mind.
Nao: The rhythm of taiko was even there from the beginning, and got more vigorous afterward so we were excited to do it. (laughs)
Isshi: Yeah. When I imagine that summer, I feel that the song itself opens up in the chorus, and it's not how I usually express myself. It's a sudden change, but it feels like the lonely evenings of Nagano summer.
―Ah, it sort of brings a movie to mind.
Isshi: Like going back in the evening on a tractor. I remember when I was a little boy that I've often seen that kind of sorrowful sight. So, the lyrics of "Rin" are what come to mind when I represent things like those various stories and sights. Also, I think the character '凛' has a cool design, and so I used it for the title.(*1)
―You've depicted a summer characteristic of Kagrra,.
Isshi: That's different than sweat and darkened skin. (laughs) I think it's like a Japanese summer.
―And speaking of Japanese summer, festivals are important events too, and the coupling song "Matsuri" is surely full of the atmosphere of a festival.
Isshi: The rhythm unit composed it, but this one was "Matsuri" from the beginning.
Izumi: We want to have a song that makes anyone who listens imagine a festival, so we started composing with that in mind.
Nao: The rhythm of taiko was even there from the beginning, and got more vigorous afterward so we were excited to do it. (laughs)
―Why did you go with "祀" instead of "祭り" for the title?(*2)
Isshi: For the song, that "Wasshoi!" of a festival would be a bit boring (laughs) And we have a 'summer festival' in my hometown, written as "Kitsune Festival". In my own way I feel like I'm getting at the roots of the worship.
―Well, what kind of things do you describe in the other coupling song "Uta"?
Isshi: This is 100 poems by 100 poets. It was something I partially touched on in "Miyako" (album released in March) and went in a completely separate direction, so in these lyrics I wrote more of my ideas. I'm describing the passing of the seasons while quoting a poem of Ona no Komachi.
―I see. The original melody was composed by Akiya, but while Rin has a touch of new wave feeling, this one also felt very interesting.
Akiya: I wasn't particularly aware of anything specific, I might've just wanted to do something cool that I haven't done until now.
Shin: Yeah, an experimental feeling.
―But it seems like this means it'll be difficult to play at lives. For example in your next tour.
Isshi: No, we'll do it. Because we haven't done something like this in a long time.
Isshi: For the song, that "Wasshoi!" of a festival would be a bit boring (laughs) And we have a 'summer festival' in my hometown, written as "Kitsune Festival". In my own way I feel like I'm getting at the roots of the worship.
―Well, what kind of things do you describe in the other coupling song "Uta"?
Isshi: This is 100 poems by 100 poets. It was something I partially touched on in "Miyako" (album released in March) and went in a completely separate direction, so in these lyrics I wrote more of my ideas. I'm describing the passing of the seasons while quoting a poem of Ona no Komachi.
―I see. The original melody was composed by Akiya, but while Rin has a touch of new wave feeling, this one also felt very interesting.
Akiya: I wasn't particularly aware of anything specific, I might've just wanted to do something cool that I haven't done until now.
Shin: Yeah, an experimental feeling.
―But it seems like this means it'll be difficult to play at lives. For example in your next tour.
Isshi: No, we'll do it. Because we haven't done something like this in a long time.
―It seems you're deciding on additional performances for your tour, and I hope you'll get everywhere and come back safely.
Nao: Ah, that most of all. (laughs)
Shin: There's no chance of an accident!
Akiya: Even without anything like that, since it's urban areas it's our stamina. (wry smile)
Izumi: Ah, certainly.
―But you're still so young~!
Isshi: What's all this? Ah, anyway, we'll do our best.
Nao: Ah, that most of all. (laughs)
Shin: There's no chance of an accident!
Akiya: Even without anything like that, since it's urban areas it's our stamina. (wry smile)
Izumi: Ah, certainly.
―But you're still so young~!
Isshi: What's all this? Ah, anyway, we'll do our best.
Notes:
*1 The title for Rin is 凛 which means 'frigid' or 'dignified' and isn't much of a summery word.
*2 The Matsuri used as the song title means 'worship' while the standard kanji for Matsuri means 'festival'. Overlapping meanings with different nuances. The "Kitsune Festival" that Isshi is referring to was written with the same Matsuri as the song's title.
As always, other relevant notes link to outside articles from the interview text.
*1 The title for Rin is 凛 which means 'frigid' or 'dignified' and isn't much of a summery word.
*2 The Matsuri used as the song title means 'worship' while the standard kanji for Matsuri means 'festival'. Overlapping meanings with different nuances. The "Kitsune Festival" that Isshi is referring to was written with the same Matsuri as the song's title.
As always, other relevant notes link to outside articles from the interview text.