As usual, I want to express my gratitude to my dear friend @jacintoo for helping with proof-reading my translation, I always learn new things thanks to her guidance ^^
This time I bring Angelo’s guitar Karyu’s interview from the FC magazine that was released just after they launched the sales of their 2019 album “FAUST”, so he talks about the composition process during the creation of the songs from this album. FAUST was such a gem album, really perfect in every sense, so I hope you enjoy Karyu’s comments!
The album “FAUST” has just been completed. What has been the response?
Karyu: It has been appropriate. After making the previous work “RESONANCE”, I think there was a feeling of having used all of one’s energy. However, this time I have a considerable sense of security and response felt that the previous work has been surpassed.
When it’s decided that it’s time to make an album, to start with, what kind of thoughts and ideas you have floating inside your mind?
K: With all my energy used up for RESONANCE and when the album was already completed. Next, Angelo is going to show a new world; therefore, I think about what should I attempt by myself. During the time I was thinking about it, I received a hint from the leader about making a “catchy song”. In response to those words, the catchiness that was inside me, for example a melody, or the way I should use the instrument to sound catchy, also catchy riffs, this kind of experimental things is what I felt like trying to make.
Was it different this time compared to your attitude and thoughts toward previous songs?
K: A bit different yes. “What exactly is catchy? What’s my own special catchiness?”. That’s when I started to have the feeling of trying out these things by myself.
The so-called catchiness, is it about songs constructed with major chords, or is it something different?
K: Basically, that kind of catchiness is not enough for me (laughs). It feels like I don’t have much of it. I have the feeling that there is catchiness within the emotionally touching minor chords.
In the small light within the darkness, that’s where Karyu’s catchiness is.
K: I pursued that kind of catchiness that is unique to me.
Actually, with what kind of feeling did you start making it?
K: It’s difficult to explain with words but, for example the folk instrument conga is something that is catchy for me. That combined together with Angelo’s heavy sound, it becomes catchy. From there, I just let it expand. In regards to the melody, I select particularly those that get caught up in the mind. The guitar riffs too, it shouldn’t be just eighth notes with “jakajaka” strumming, but also getting catchiness by adding glissando from the octave (laughs). Although it’s something little, it’s something that is caught easily by the ear. With that kind of sense is how I start creating.
This time, judging from the provisional title, Karyu made a total of 10 songs’ demo sound sources.
K: I made a bit more but, I only submitted 7 songs to the members. And all of them made it to the album.
For example, “Karyu 01”, did you make sound sources with numeric series like that?
K: The official title of “Karyu 01” is “RITUAL”. That was the first song I made. I said this a moment ago, this is the combination of Angelo’s heaviness and folk instruments. Also, about this song; if I hadn’t come up with the idea of adding folk instruments to it, I would have rejected it inside my mind.
Isn’t it only the riff that carries the impact?
K: But, even now it still became Angelo. From there, I couldn’t get it through. I feel it was brought to completion by adding the folk instruments to it.
It seems the first demo that TAKEO heard was “FAUST”. After the moment he heard it, he was convinced it will be a good album.
K: Oh! (laughs). When writing songs, the basis is to start from self-satisfaction, if it becomes a shape that you can feel good about, then certainly the members will be surprised too. However, during the first half of the year, I was very worried. I couldn’t come up with any interesting ideas, and eventually I fell sick because of it (laughs).
Giru was surprised about the genius that Karyu is for being able to come up with the ensemble for “BUTTERFLY EFFECT”.
K: This was a miracle. I think this is a song that people who are detailed about chords could never make. This is a song that I made in the second half of the music composition period; at the beginning I was thinking if it would be good to have a song without guitar. Then, I started making the A section of the song, and then when I added guitar it became surprising and original, so from there the final shape had a change of course.
Although you are a guitarist, you were about to make a song without guitar. While being worried, that idea came at the end?
K: That’s right (laughs). It’s good to have guitar in the chorus hook but, I thought I could only create a world view with an electric floating feeling by not having guitar in the A and B sections. In the final shape, although I did include guitar, the gain was reduced and the floating feeling was preserved, so I think it went well. About the section D after the interlude, the melody didn’t match with the background, so there was a lot of trial and error. However, it turned out amazing.
“A MONOLOGUE BY MEPHISTO” which also had its own music video made, it became a very important song and was decorated as the 1st song.
K: I also made this one in the second half of the period, surprisingly I wasn’t thinking about live performances, but the result while we performed the song in concerts, it became the best song to bring out the gap between intensity and catchiness. That’s where development of the chorus hook started to materialize. I think the idea to apply contrast was also good. It was harsh to make the catchiness carry over in the main riff, so it took a lot of trial and error.
I feel that the idea of mixing different tastes to create new things was the focal point this time.
K: Perhaps. As with the previous works, it became more interesting to create from ideas, and this time I completely realized it. It’s also good to create from impulses but this time it was also an experiment for myself. That’s why, for the next time, I want to try it out again.
What?!
K: That’s right (laughs). This is an introduction to what comes next too, so this time it’s experimental work. The album this time is good to listen to, but I have some anxiety about what the live performance will be like. However, I am making it with eyes on the next work, and this is what I must do now. I think this is the road I must follow.
What are you thinking about doing next as a songwriter?
K: I want to make songs that shine in concerts. It’s still a bit rough, I’ve even though about making songs with dance beat as the main portion.
The so-called EDM style?
K: In terms of beat yes. Four-on-the-floor rhythm pattern as the main portion would be nice. Maybe I will change my mind later.
When I hear about what you’re saying, I can understand how “BUTTERFLY EFFECT” was born.
K: Yes, that’s right.
You mentioned before you were somewhat anxious about the live performances, but naturally each song has the potential of assuming the shape of live performance.
K: Of course. However, almost all of the songs at least at the beginning, were made without the assumption of a live performance. That’s why, the degree of difficulty from a musical performance standpoint became higher. Especially Giru’s phrase is extremely difficult (laughs).
When it comes to other people’s affairs, you’re giving a loud laughter (laughs).
K: No, because Giru is always playing the guitar in the dressing room, I think it’s good to let him play fast-playing phrases. In my demo, I played it while thinking how difficult it was, so when I gave the demo to Giru, I said “Please, you play this instead”. So instead, I would rather say I created these for Giru (laughs). That is the phrase with the sixteenth note in the intro of “FAUST”. This is what the chorus hook is about, it’s hell (laughs).
You’re laughing again.
K: I just have to strum the chords, shake my head and play (laughs). But I wonder if it’s too hard for Giru (laughs). Somehow it became an unpleasant conversation flow (laughs). But no, I prepared phrases that Giru seemed to like. So, I just let him know (laughs). However, by taking into consideration the individuality as a player in the musical composition since the beginning, perhaps a new dimension can also be born. As you mentioned before about mixing different elements, I think it leads to the same place.
As expected, however Karyu can’t just keep laughing. Since you also have a lot of difficult phrases to play.
K: I’ll do my best (laughs). The guitar of “RITUAL”. The second half of the solo is a phrase with sixteenth notes, during the recording it was considerably risky (laughs).
When going towards a live performance, you’re saying that you cover up things at your own convenience?
K: That’s right (laugh). By setting up the guitar effector or by changing the guitar pick. Putting the jokes aside, this solo has a nuance of sense of impending crisis. I like movies, so even when making songs, the visualized image extends. In order to materialize that, there’s a need to play with a high degree of difficulty. If I don’t challenge that, the song won’t be completed. It’s important to challenge myself to come up with new sensations.
You’ve pushed yourself considerably in both music composition and recording.
K: It was worth it. From the portion that I was satisfied with “RESONANCE”, I also worried about it. Now that “FAUST” has been completed, I’m really looking forward about what kind of reaction my body will have when I perform the new songs. The songs have not been engraved in my body yet, but as usual, I have the feeling that my body will move on its own, so I am not worried about reenactment.
Since the beginning of the tour, you go with the understanding of surprising everyone with a concert of high quality and performance?
K: Yeah, I’ll do my best. Right now, that’s all I can say (laughs).
What about the songs composed by Kirito and Giru?
K: They filled in the pieces I wanted. In my demos there wasn’t any song with a bouncy and catchy pop feeling, so I thought about including Giru’s “JIHAD”; and there wasn’t also anything with a violent feeling, so we included “THE SELECTED NEW AGE”. In addition, the ballads created a magnificent worldview; the moment I heard the 2 demos that the leader composed, I really liked them. It turned out very well.
If I’d have to say just one more thing, you said that as a Youtuber you didn’t want to get unreasonable requests?
K: Kind of, I ended up enjoying it (laughs). I also agreed with trying out Youtube. As long as it doesn’t become a disgrace, then what I create will become interesting. So, from now on I’ll cooperate with whatever I can.
JAPAN MUSIC SEKAI ~ Jrock & Jpop talk ~ 