#their music has an energy to it in every single aspect that no other band will ever be able to reach for me | Explore Tumblr Posts and Blogs

ruegracieuse · 1 year

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Any podcast recommendations?

Sure! I listen to far too many! I’ve spent an inordinate amount of time separating my regulars roughly thematically. If anyone has any recommendations I’m all ears!

Politics/current events: Trashfuture (leftist with a focus on the UK - I don’t nor have I ever lived in the UK but this podcast has also taught me a lot about tech things and how horrible they are, and the hosts are great. Depressing but funny, real band playing as the titanic sinks energy); Radicals in Conversation (a monthly podcast by the leftist publisher Pluto Press, wherein they interview a leftist writer or have a conversation between a few); Boonta Vista (this used to be political and now it is simply the hosts reading news stories that cater to some very specific and surreal subjects they’ve developed an interest in. I find it comforting as it’s very Australian but not in a cringe way); Srsly Wrong (a deep dive into different aspects of leftist theory or history or whatever, done in a very charming and accessible way. To begin with I love their eps on library socialism, or the episode ‘Misanthropy is a Death Cult’)

Film: Faculty of Horror (every month the hosts, whom I love, do a very academic and hugely interesting deep dive on the themes, context and content of one or two horror movies. To begin with, the episode on Pyewacket and Hereditary is great, or Eating Disorders in Black Swan and Drag me to Hell (huge tw for that one though!); Psychoanalysis: a Horror Therapy Podcast (every other week the hosts, who work with or have lived experience with mental health issues, examine a horror movie through the lens of a particular mental health (or adjacent) topic. Obviously various trigger warnings for each episode but I believe they include a content list in the description of each episode. Their series on suicide was really well done, plus the episode on depression in Lake Mungo was so good. And Dreams in Mulholland Drive is my favourite discussion of one of my favourite movies, maybe ever. It took me a while to gel with the hosts but once I did I was in!); You Must Remember This (she’s a classic for a reason. I adored adored adored the series earlier this year on erotic film in the 1980s, and I’m waiting for the next part, Erotic 90s, with baited breath); Random Number Generator Horror Podcast Number 9 (tbh I’m hot and cold on this one. I only listen if I am interested in the movie they’re doing. It’s nice background noise, the hosts are from Welcome to Nightvale. I liked their episodes on Ginger Snaps and Belladonna of Sadness (tw for sexual assault on that one) and the Blair Witch)

History: Behind the Bastards (very well researched dives into awful people, movements, companies, ideas etc. I like the host although he can be a little self important at times); No Dogs in Space (hugely well researched music history podcast. I loved their series on the Dead Kennedys and on Joy Division); Stuff the British Stole (little podcast that does a deep dive into the history of single objects (or in one terribly sad episode, a person), that British colonisers took, or destroyed, or lost. Every episode is good, and the episode lengths are very manageable. I recommend Not Your Venus (about Sarah Baartman), A Tiger and a Scream, and Losing Your Marbles); You’re Wrong About (I feel like I’ve seen tumblr recommend this a lot, and for good reason! The earlier episodes offer great perspectives on the way our systems fail us, especially the most marginalised. I really appreciate the humanity and empathy the hosts express, even for people it’s so easy to brush aside or dislike. Any of their Maligned 90s Women episodes are good, and I’ve recently been listening to the opus they did on the OJ Simpson trial, which is great); the Timber Wars (this is a limited series but it’s SO GOOD! such an interesting and thoroughly researched/interviewed telling of the conflict between environmentalists and lumber workers and in Pacific Northwest, and how the timber companies, surprise surprise, fucked everyone over)

Misc/limited series: Maintenance Phase (two LGBTIQ+ writers, one a fat woman, really prising apart the junk science, prejudice, injustice and harm done by the wellness industry, diet culture, and fatphobia. As someone prone to disordered eating, and also as someone who is working to be more educated on ableism and fatphobia, I find it really informative and (and I hate this word) empowering. TW for fatphobia and discussion of eating disorders); The Lolita Podcast (very moving exploration of the many lives and interpretations of Lolita. TW for sexual abuse. I love Jamie Loftus and everything she touches is delightful.); This Podcast Will Kill You (every week two epidemiologists (? they both have doctorates in something to do with disease anyway) choose one disease and explore its biology, symptomatology, and history, before looking at the status of the disease in the world today. This podcast brings me back to the age of 9, devouring Horrible Science books. I’m not a numbers gal so I drifted away from science in high school, but I’ve always found the history of science gruesome and poetic and this podcast captures that beautifully. I love gory and upsetting things. Also the hosts have such lovely soothing voices.)

#qu #I hope someone finds something they like from this

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everyday-shea · 2 years

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Album Astrology Analysis: DIR EN GREY - PHALARIS

The Astrology of PHALARIS

While birth charts for people are the most common charts discussed in the astrological mainstream, you can actually use charts for anything! With my specialization in music related topics for astrology, I want to get into that more as I build up this blog.

Album release charts are a fun way to look at an album from a different perspective. However, how do we decide what an album’s “birth chart” should be? It’s not as simple as a person, where we lock in the chart based on when they took their first breath. With albums, there are a lot of stages in the process of the release. Sure, there’s the official release date, but there are early releases for fanclubs, singles, and many aspects to consider.

Here is the structure I have personally decided to use when reading a chart for an album (other astrologers may have slightly different approaches).

- Long term transits. Looking at the astrological transits from when the album was first conceived up to its release date.

- Intermediate transits. Looking at important transits around the time of singles being released and early releases before the official release date.

- Official release date. What would be considered the official “birth chart” of the album when it is being shown in its entirety to the mass public.

With Phalaris, the members of DIR EN GREY have stated that they began thinking about and working on songs for this album shortly after the release of their last album The Insulated World. So, we will start from there and work our way up to the Phalaris release.

Table of Contents

Insulated World Release Transits 2019-2022 Transits May-June 2022 Transits Phalaris Official Release

The Insulated World - released September 26th 2018

This album marked a transitional chapter for the band as they had just recently celebrated 20 years together. Over their entire career they have never stopped evolving and adjusting their style. Every album has its own vibe and personality that reflects where the members individually, and the band as a whole, were at that time.

When Insulated World released, DIR EN GREY’s two band charts (Indies debut and Major Debut) were in their 8th and 10th house years respectively. “House years” show which of the 12 houses are activated or emphasized in a chart each year, these are called profections. This can show where major events are likely to occur and direct our attention to areas that will benefit from extra attention that year. The 8th house represents shared resources and energies. When the 8th house is profected, attention is drawn to the areas of our life where we are sharing resources, energy, and materials. This can mean money, physical items, dependents (children/pets/etc), property, and such physical things. It can also mean non-physical things such as sharing of intimacy, deeper emotions, personal time and energy. The 10th house represents career, public image, and long-term plans. When the 10th house is profected, emphasis is drawn to our public image (what we can control and what we can’t control), what changes need to be made to our long term aspirations in career and personal matters. 10th house years are helpful times to set oneself up for long-term success. So with DIR EN GREY, these themes were being emphasized around the release of The Insulated World. The future of the band in the long-term from that point was being heavily discussed, largely behind closed doors. Of course, with a band, the future is always being discussed, but this time it would have had a heightened sense of “all-or-nothing”. That if the band were to continue, every member would need a strong sense of long-term commitment.

It is with this energy of setting the band up to continue another say 20 years, that the members set about promoting Insulated World and looking to the next step of their career.

2019 - 2022

The members have said that they started planning the songs for a new album shortly after Insulated World, though the bulk of song-writing and formation of Phalaris occurred from 2021 - 2022. No doubt the global pandemic played a large hand in their process as the members spent lock-down translating their emotions about the situation into their music. Astrologically, let's take a look at the long-term transits of this time period and how I see those energies reflected in the album.

For long-term transits, we look at the last 4 outer planets, which move the slowest: Saturn, Uranus, Neptune, and Pluto.

Saturn in Capricorn → Aquarius: During this time period, Saturn made its shift from the sign of Capricorn into the sign of Aquarius in December of 2020. Capricorn represents the more serious side of devotion to work, such as schedule structure, resource acquisition, resource management, and diligent planning. Saturn in Capricorn is a good time to draft long-term plans both for business and for self. During the pandemic it was difficult to know what the long term could potentially look like. Many people had drafted their long term plans at the beginning of Saturn in Capricorn, only to have the end phase of Saturn in Capricorn call those plans into question. Figuring out what was realistic versus unrealistic, adjusting procedures, and managing expectations in light of changing circumstances became a necessary skill for survival. Now, DIR EN GREY had already become accustomed to writing music at home and working remotely. Therefore this aspect wasn’t as difficult an adjustment for the members as it was for bands that write best together in the studio. But for the members of DIR EN GREY there still came an adjustment of time management as they usually would have tours and outside promotions to give their time to and now found themselves largely working in their respective home studios. A big lesson with Saturn in Capricorn, especially when it came to adjusting work habits in the pandemic, is finding that work-life balance so you can maximize productivity and not burn yourself out. When Saturn shifted into Aquarius in December of 2020, the questions around changes to work approach became highly experimental and largely tech based. People were more accustomed to virtual business and were finding success in trying new things. Aquarius prizes experimentation and innovation, so with music, Aquarius Saturn has really pushed musicians to challenge their preconceived notions around what music should sound like or how their music should be. Experimenting with different song structures and instrumental techniques ultimately unveils new sounds and styles for various artists. And since Saturn rules over lessons, the Saturn in Aquarius transit challenges artists to use lessons learned from the past and apply that to their progressive innovation. With Phalaris, we get an album that incorporates elements of older DIR EN GREY albums while remaining new and unique. There are definitely call backs to the DUM SPIRO SPERO and Withering To Death albums, both of which were written during times of drastic transformation with the band’s sound and direction.

Uranus in Taurus (2018 - 2026): Uranus is the planet of radical, sudden change, and Taurus is the sign of steady, sturdy, stubborn energy. So when Uranus is in Taurus and we are faced with areas of life that require huge changes, we can either resist it with Taurus’ stubborn nature and feel stuck in the mud, or we can use Taurus’ persistence to push change ahead relentlessly. With music, this transit is giving artists the drive to pull out their more complex and risky moves, pushing new ideas ahead despite push-back from others. Many artists during this time have been, and will continue to, produce music quite different from their normal style. There’s confidence behind these changes and that confidence is what helps the new styles take hold with the artists' fans.

Taurus rules over tangible beauty - i.e. physical things related to beauty and aesthetics such as clothing, decorative items, and home goods. Uranus in Taurus values comfort and practicality over edginess and extremes. Pay attention to artists' clothing over this time, especially in scenes like Visual Kei, as there is a general shift to clothing that emphasizes textures and bold yet sturdy statement pieces. Taurus also rules the throat, so many vocalists can benefit from this transit by taking extra care in the development of their voice - many are improving their vocal quality, widening their range, and experimenting with new vocal techniques and styles. With Phalaris we definitely see Kyo’s voice in its healthiest, most robust, and most experimental form since DIR EN GREY’s debut. He’s been using this transit to great benefit across all 3 of his bands and his range of vocal styles is building steadily.

Neptune in Pisces (2011-2026): Pisces is naturally ruled by Neptune. The planet of dreams, superficial beauty, and spirituality along with the sign of creative purpose, energetic sensitivity, and imaginative innovation, has been and continues to be an ideal time for creative pursuits. The Arts thrive when Neptune is in Pisces. We all dare to dream a bit bigger and indulge more in fantasy. In music, the artists receive heightened inspiration and music listeners are more easily able to enjoy the music in abstract ways. Daydreaming along to songs, letting the music play as a soundtrack to our ideas. Tied together with the Saturn in Aquarius transit, we’re seeing more artists indulging in the production of music that they want to make rather than forcing themselves to stick to the same formulas that have brought success in the past. We’re seeing more songs that break from the common structure of verse 1, chorus, verse 2, chorus, bridge, chorus. Artists are finding what new structures work, and which ones do not. There’s still an element of that structure widely present, yet the ways artists put their own twists on it and change it to suit their own tastes is where the industry is finding innovation. With Phalaris, we definitely see new song structures we aren’t accustomed to with DIR EN GREY in songs such as Utsutsu, Bouga wo Kurau, Mouai ni Shosu, and Kamuy.

Pluto in Capricorn (2008-2024): Pluto is the planet of long-term transformation of social structures, often through deconstruction. The Pluto in Capricorn transit deals largely with structures relating to systems of authority, power, and resources. Major transformations in the areas of politics, religion, work-places, and education. I’m not going to get into the political side of this as that’s not what this blog is for, but look at the global news and it should speak for itself.

For the music industry, the transformation we’ve seen has been largely behind the scenes, only shown publicly when something huge occurs. This is a time when artists are rearranging contracts to become more independent, gain more control over their work and more rights to ownership of their work, and challenge authority structures within the industry.

With these long-term transits occurring during the writing and production of Phalaris, we see a setup for an album with a sturdy yet unique structure, a stubborn yet dreamy energy, and a tactile ambience (feeling like you could touch the songs even though it’s intangible sound).

May - June 2022 Transits

Mercury RX → Saturn RX. As we get closer to the Phalaris release date in our astrological exploration, we can start looking more closely at more short-term transits. This is where we get to talk about retrogrades. Retrogrades are largely popularized in the media via hype and stereotypes specifically around Mercury Retrograde. However, all planets from Mercury to Pluto retrograde. So, what is a retrograde (or RX for short)? Well, all planets orbit the Sun at different speeds. Astrology is based on the relation of the other planets to Earth. So at times, due to the difference in orbit speed between the Earth and everyone else, the planets can seem like they’re moving backwards. This energy shift can cause friction and blockages to the ways the transits normally present. Mercury, the fastest moving planet in our solar system, appears retrograde the most frequently (3-4 times a year) which is why it is heavily emphasized in popular media.

May 2022 Mercury RX in Gemini and Taurus: Gemini is ruled by Mercury, so when Mercury entered retrograde in Gemini in May of this year, the easy flow of Gemini’s energy became restricted. Mercury Retrograde in general is characterized by increased occurrences of communication breakdown, technology troubles, and vehicle troubles (such as failures and collisions). Entering into Taurus, stubborn energy increased and we saw an increased number of conversations that should have been easier to hold, instead met with difficulty. People talking past one another instead of to one another. As far as I can tell, this didn’t have any negative effect on the Phalaris release, thank goodness. However, it did set up Mercury to re-enter Gemini from Taurus after the retrograde so that Mercury would be in Gemini again for the Phalaris release. Gemini is an excitable sign that is fueled by the exchange of a variety of information. The Gemini Mercury energy in May and June definitely added to the natural fandom excitement around the release - everyone sharing their predictions and expectations for the album.

Shortly after Mercury came out of retrograde, we were hit with another retrograde.

June 2022 Saturn RX in Aquarius: Early June marked the beginning of this transit and with it a push for personal and interpersonal adjustments for the sake of growth. Basically, Saturn rules over life lessons which are being taught gradually at all times. When Saturn enters retrograde, those lessons are presented with greater urgency and force. Aquarius rules several things but what I want to emphasize the most this transit is Aquarius’ rulership over technology, large social groups, and humanitarianism. That’s right, I’m talking about social media and especially fandom on social media. With DIR EN GREY releasing a new album, the DIR EN GREY fandom has been interacting to express excitement and reactions to said new album. Outside of the DIR EN GREY fandom, people within the larger scopes of Visual Kei, Jrock, and Metal scenes are joining in the conversation. Saturn RX in Aquarius highlights the ways in which the use of social media in an album release can affect that release, the fans relationships with one another, and the fans relationship with the band. The ways we interact over this album during this transit is setting the tone for the ways we interact as a fandom moving forward long-term, and I think that’s beautiful.

Phalaris Release Date

Finally, we get to the day itself, the official chart of Phalaris! For the “birth time” I used midnight in JST as that is when the official drop began. I won’t go through this like I do with people’s birth charts, I just have some key features to point out and emphasize.

Gemini Sun in the 3rd House: This is direct communication. Notifications dropping, people instantly reacting upon first listens, and sharing these reactions. The absolute pride of the fandom to share reactions to the album immediately rather than hold back or be secretive. This also indicates the overall message of the album: the strength in forming and enforcing our bonds with others in difficult circumstances. Whether someone was experiencing the album with a group of people in person or physically by themselves and experiencing the album with people via texting and social media, the energy around communication cannot be understated here. The enthusiasm in everyone not only sharing but receiving one another's reactions and opinions is very important. I didn’t see any arguments over people having “bad takes” on various platforms. Overwhelmingly there was nothing but respect and excitement for one another’s opinions on the songs individually and the album overall.

Sagittarius Moon in the 9th House: Okay, this is where things get spicy. Sagittarius Moon is an excitable transit as it encourages leaps of energetic enthusiasm. This can be an impulsive transit, often marked by impulsive shopping, people suddenly changing appearances, or even people suddenly changing life circumstances (quitting/starting new jobs, making travel plans, starting/ending relationships). It’s a transit that encourages a leap of faith towards our future goals and dreams. The 9th house represents long-distance travel, higher learning, and philosophy/religion. Phalaris was presented to us with this high energy and encouragement to look towards the parts of the world that are larger than ourselves. On top of this already hot energy, the Moon at this time was a Full Moon, which further intensifies and magnifies the energies already discussed. And with the 9th house representing long-distance travel, this chart placement sets Phalaris up to be a highly successful touring album, both in Japan and around the world.

Gemini Mercury in the 2nd House: As discussed previously, Mercury had just re-entered Gemini after its retrograde. This refreshed energy is very at home and brings further excitement to both the fans' social interactions around the album, and the lyrics of the album itself. The lyrics of this album are a culmination of emotions built up throughout the past 3 years. The frustrations and hopelessness around a global pandemic lockdown, the strength in communities still finding ways to come together, and the spark of hope as we emerge on the other side of the ordeal. The 2nd house represents resources and an album having a 2nd house Mercury placement sets it up well in terms of successful sales. Not only is this a strong position for the album sales at the start, but any income from this album such as tour tickets will benefit as well. Gemini is naturally ruled by Mercury so having specifically Gemini Mercury in the 2nd house shows the ability of people to find strong meanings and personal connections within the songs of the album. Kyo always intentionally lends his lyrics to the listener’s interpretations, and for that this chart placement really suits his style.

Taurus Venus in the 2nd House: This is the grounding of the album. The piece that really makes it for me astrologically. Taurus is naturally ruled by Venus and in Visual Kei having strong Venus placements in charts will always be positive. Taurus is very rooted in the physical, tangible side of beauty and aesthetics. Having this in the album’s chart indicates special care given to the visual side of the album production. I have yet to receive my physical copy of the album, so I cannot speak on the physical quality myself, but I have heard good things from others.

This is the part that absolutely tickles me and other astrologically minded DIR/Vkei fans. Taurus as a sign is visually represented by The Bull. With Venus representing imagery and aesthetics, the fact that an album with a Taurus Venus chart placement on release day has me wondering if DIR EN GREY’s label has a resident astrologer on staff. The Bull imagery used for the Phalaris album jacket, and within the music video for the track Perfume of Sins, comes from the legend of the album’s namesake, the Emperor Phalaris who would trap people in a large bronze bull and light a fire underneath, slowly roasting them as a form of torture, entertainment, and execution. There are other aspects of Phalaris’ legend that DIR EN GREY could have used which suit their visual style (such as his famed cannibalism and penchant for eating young babies). However, it is the Bronze Bull that was decided for an album released during Venus in Taurus. Interesting.

Aries Mars & Aries Jupiter in the 1st House: As if things were not already hot and heavy, we come to the placement of Mars. Aries is ruled by Mars and is at home in this placement. This is a fast, hot-tempered energy. Along with the Sagittarius Moon, the impulsive, reckless, and fast moving energy is here heating up the Bronze Bull of Taurus Venus. The 1st house represents public presentation and first impressions. Having Mars in the 1st house of a chart offers a strong, bright image. This is the energy of the person who commands the attention of a room without even trying. And Jupiter also being in Aries in the first house heightens this energy as Jupiter represents expansion. 1st house Aries Jupiter in the album chart of Phalaris expands the charisma of the album and pushes it to the front of the conversation. This album demands to be perceived, heard, and experienced. There’s a passionate energetic wave coursing throughout the album that keeps listeners on their toes and wanting more.

I already discussed Saturn - Pluto in the long-term transits section above so I will tie them in here briefly.

Aquarius Saturn being in retrograde when the album dropped holds a square or tense energy with Taurus Venus. Our perceptions around visual art are challenged with this transit combination, which is directly in line with DIR EN GREY’s long-term image and theme in their work. Is it “appropriate” to use heavy, obscene, horrifying imagery such as people burning alive inside a Bronze Bull, as a form of artistic entertainment? How can Phalaris’ tyranny be applied to structures of authority and power today? The use of art to challenge perceptions and draw attention to large social issues has always been the prerogative of Rock Music at large, Visual Kei in particular, and DIR EN GREY in emphasis.

Aquarius Saturn RX sits in Phalaris’ 12th house - the house of the taboo, long-term transformation, and deep subconscious. This album challenges us to bring things we push to the back of our subconscious to the front and address them directly.

Joining Saturn in the 12th house is Neptune in Pisces. The placement that emphasizes the inner subconscious mind. Again, it’s very on brand for DIR EN GREY and that’s why this album release chart is so perfect. The album challenges us, all of us, to read between the lines of the songs for deeper meaning and to share the meaning we find with one another. By doing so we can identify areas of our social communities (whether that’s the fandom or our individual communities at home) that need reform within the way people interact, share ideas, and generally communicate.

Whether you study astrology or think it’s all Bronze Bull Sh*t I hope this analysis has been a fun lens with which to look at the album. Let me know if there are any Visual Kei/JRock albums y’all want me to analyze in this way! I am open to suggestions.

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#sumire_shea #jrock astrology #dir en grey #phalaris #album astrology #music astrology #vkei #jrock

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en-karma · 3 months

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Karma Band's Musical Journey: From Local Stages to Global Fame

Introduction

Karma Band's story is a compelling narrative of musical growth and cultural fusion. Starting from local performances to gaining international recognition, their journey reflects not just their musical talents but also their ability to connect with diverse audiences. This 1800-word blog post delves into their journey, exploring how they have become a notable name in the global music scene.

The Humble Beginnings

Every great story has modest beginnings, and Karma Band's is no exception. Originating from a small town, their early days were marked by performances at local venues. These initial stages were crucial in shaping their sound and identity, as they experimented with various musical styles and connected with their early fans.

Crafting a Unique Sound

Karma Band’s journey is as much about their music as it is about their identity. Their unique sound, a fusion of traditional Bhangra rhythms with contemporary Indie Rock, set them apart from their contemporaries. This blend of genres was not just innovative but also a reflection of their cultural roots and modern influences.

Building a Local Fanbase

The band's growth was significantly fueled by their local fanbase. Their live performances, characterized by energetic Bhangra beats and the raw appeal of Indie Rock, resonated with audiences. This early support was instrumental in giving them the confidence and momentum to reach beyond their local scene.

The Role of Digital Platforms in Their Rise

The advent of digital platforms played a crucial role in Karma Band's journey to fame. Utilizing social media, streaming services, and online marketing, they managed to reach a wider audience, showcasing their music to people across the globe. This digital strategy was pivotal in their transition from a local band to a globally recognized act.

Breakthrough Moments

Karma Band’s journey was marked by several breakthrough moments. Whether it was a viral music video, a successful debut album, or a hit single, these milestones were critical in catapulting them to a wider audience and establishing their presence in the global music industry.

Touring and Live Performances

Touring was a significant aspect of Karma Band's journey. Their live performances, known for their electrifying energy and cultural richness, helped them in building a global fanbase. These tours were not just about showcasing their music but also about interacting with diverse cultures and learning from different musical traditions.

Challenges Along the Way

Karma Band’s journey to fame was not without challenges. Navigating the music industry, maintaining their unique sound amidst commercial pressures, and managing the logistics of international tours were some of the hurdles they faced. However, these challenges were crucial in strengthening their resolve and refining their music.

Collaborations and Expanding Horizons

Collaboration with other artists played a significant role in Karma Band's journey. Collaborating with musicians from various genres and cultures allowed them to explore new musical territories and brought fresh perspectives to their work, further enriching their sound.

Staying True to Their Roots

Despite their global fame, Karma Band has remained true to their roots. Their music consistently reflects their cultural heritage and personal experiences, connecting with listeners on a deeper level. This authenticity has been key to their enduring appeal.

The Future of Karma Band

As they continue on their musical journey, Karma Band is poised to explore new horizons. With each album and tour, they are not just expanding their reach but also evolving their music, promising their fans an ever-exciting and dynamic musical experience.

Conclusion: A Testament to Musical Passion and Perseverance

Karma Band's journey from local stages to global fame is a testament to the power of musical passion and perseverance. Their story is inspiring, showcasing how dedication, talent, and the right opportunities can propel a band to great heights. As an experienced music creator, I see Karma Band's journey as a beacon of hope for aspiring musicians and a vibrant chapter in the world of global music.

In the dynamic and ever-changing music industry, Karma Band stands out as an example of how diverse influences and genuine connection with audiences can lead to lasting success and global recognition.

#Karma Band #Rock Band #Music Band

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sinceileftyoublog · 1 year

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Hundred Watt Heart Interview: A Prayer for Humanity

Photo by Alexander Fischetti

BY JORDAN MAINZER

It’s mind-boggling how The Roots as a collective have time to balance their basically daily gig as the house band for The Tonight Show Starring Jimmy Fallon with live shows, tours, and recording new music. That any of them have time for solo careers on top of that seems next to impossible. Earlier this year, it was lead emcee Black Thought releasing Cheat Codes, his excellent collaborative album with venerable producer Danger Mouse. Now, “Captain” Kirk Douglas, the band’s guitarist and singer since 2004′s The Tipping Point, has resurrected his Hundred Watt Heart project for New Unknown, his second album under that moniker.

Recorded at home during the pandemic, New Unknown expands beyond Douglas’ debut LP Turbulent Times, traversing the spectrum of rock and guitar-based music, from prog and country to funk and Southern rock. Likewise, Douglas penned lyrics that aimed to emphasize connection, bridging the space between people who couldn’t be in the same room as each other during the COVID lockdowns, or perhaps even folks who couldn’t otherwise stand to be in the same room as each other, victims of our divided sociopolitical climate. It begins with the languid “Breathe In”, a peace-inducing ode to a certain drug whose appeal certainly transcends divides. “Together, we create a space that’s home,” Douglas sings on the gentle “Illuminate”, his voice upfront in the mix over echoing guitar. The album’s funky, horn-laden, Afrobeat inspired lead single “We Can Be One” acts as another collective hymn of healing, while the desert blues-like guitar licks that pervade instrumental jam “Breath of Fire” suggest a collective, expansive groove.

Before you roll your eyes at any suggestion of appeasement with the enemy: New Unknown is not a hippie idealist mindless exercise into compromise with Republicans evil. Rather, Douglas’s sophomore LP is just as much about self-love as community. Throughout my phone conversation with him a couple months ago, he repeatedly referred to the album as “a gift to myself,” and it’s useful to think of the album’s aims in this context. On the penultimate “Alone”, Douglas sings, “Leave the light on for me,” atop acoustic strumming. “Love is the thing that helps me feel more alive.” As wordless harmonies and layered vocals take the song to its conclusion, you’re left reflecting on his use of first person. Love works for Douglas. Will it work for you? New Unknown challenges the rest of us to be better.

Read the rest of my interview with Douglas below, edited for length and clarity.

Photo by Forest Erwin

Since I Left You: How would you say New Unknown expands upon your debut?

Kirk Douglas: There’s definitely an expansion. It’s another rock album, but world music’s explored a little bit. There are some more percussion aspects that are explored. [Also,] the previous record was done at Electric Lady Studios, and recording [New Unknown myself] gave me more artistic freedom. I was able to record more comfortably. Every aspect of the recording was done at a place where I was feeling most at-home, because it was done at home. When you’re able to record that way, it comes through in the performance. I was really able to nurture it in a way I wasn’t able to do previously.

SILY: The world music influence is pretty apparent on the first single, “We Can Be One”. Is that why you released it as the first taste of the record?

KD: That’s not necessarily the reason. The reason is because for the last record, the first single was a big, heavy rock song, and I didn’t want to do that a second time around. With the title of the song being “We Can Be One”, I wanted to put out an energy that was suggesting more of a convergence with people as opposed to the division we’ve experienced. Basically, putting out that intention for people to be on the same page in terms of humanity and how people want to be treated and empathy towards one another. There are a lot of instruments on it; it’s the most dense song on the record as far as instruments are concerned. It’s got members of The Roots on it: James Poyser playing keyboards, Ian Hendrickson and Dave Guy playing horns on it. It’s basically my intention, my prayer for what humanity could be and should be. But because of our given circumstances, it’s very difficult to be. All the instruments are doing their own thing, having their own identity, but playing towards one rhythmic and harmonic goal. When people go to shows, there’s a unity there despite whatever a person’s political opinion may be. This song is sort of a sonic utopian snapshot of how I wish the world could be and how it very well is at times. So that’s why I put that out as the first single. There are other songs on the record that are more rock-influenced, which is where I gravitate towards because I love the primal power of three-piece rock and roll, guitar-bass-drums. I’m a big fan of that. But I like to hear other flavors mixed into an album experience as well.

SILY: From a rock standpoint, as compared to your debut, this album is more progressive. There are a lot of tempo changes and switches between subgenres within the same song. Were you consciously trying to make songs that bounced around like that?

KD: Nothing was really conscious in the whole process. [laughs] The only thing that was planned was, “Let’s make some music.” This wasn’t set out to be an album. This was just to record and to express what was going on internally musically for me. A song like “Land Of Look Beyond”, I like the album to take you on a journey, so I love when a song is able to take you on a journey as well. That’s something I’ve always been interested in. Having more control over the recording process organically allows that to take place.

SILY: When I was listening to “Land Of Look Beyond” for the first time, I felt like it was a logical segue from “Breathe In”, albeit more melancholy and slow-burning. But it turns on its head midway through. Was there a general approach you took to the sequencing of the record?

KD: You toy around with different ideas and sequences of the record, and ultimately, you just arrive at a sequence that feels right. It’s like a movie for your ears. "Breathe In” is moving, but it’s not necessarily a heavy song. I thought it was a good introduction, the concept of breath, “Breathe in, breathe out,” and also a slight nod to anybody that enjoys cannabis. There’s that subtle suggestion. And then, that sets you up for “Land Of Look Beyond”. I think of an album like Dark Side of the Moon, an album that’s cinematic in scope. You can think, “I wanna make something that sounds like Dark Side of the Moon,” but when you start to create, you take a step back and start to think of your own musical experiences and the things that have musically touched you throughout your life. This record is made for me, ultimately. You just present it in a way that you enjoy it, the person that has helped to birth it. I’m like my own fan. You get to a place where you listen to it and enjoy it. This was recorded with mostly myself and the drummer Ricc [Sheridan]. It’s about our friendship; we enjoy playing and creating together and sitting back and listening to what we’ve done and surprising ourselves. That’s so much of what our friendship has been for so long. The record’s inviting others into that experience, if it touches them the same way it touches us.

SILY: That celebratory nature is on tap in the video for the first single. I love those casual, almost old-school videos that aren’t straight up live but show performances and dancing with a lot of movement. How did the video for “We Can Be One” come about?

KD: I didn’t do a video for the last record, and I knew that if I did another [record], I’d have to do something I hadn’t done before. All the planets were aligning to make it. This guy in my building, Brandon, we’re both part of the Park Slope Food Coop. We were both shopping there one day, and he was driving home, and he asked if I needed a ride. This is mid-pandemic. He asked how the pandemic was treating me, and I said, “I did make an album during it.” I noticed he’d be schlepping around a lot of video equipment because of his job, doing a lot of videos and commercial shoots. I mentioned that I’d be interested in making a video at some point, and he mentioned he knew a director that was really talented and that it might be a good idea to talk about collaboration. That’s what we did, and he and the director, Alex [Fischetti], came by, and I played them the song and told them what I’d want to see from the video. Like you said, the song has a lot of movement in it, and it’s the song where an image came to me more so than the other ones. We had a meeting, and I told them my concept, and they said they could bring it to life. We were able to make it happen, in Prospect Park, and utilizing Brooklyn. I wanted to utilize where I grew up, too, so a lot of the video is shot in the home, bedroom, and family basement I grew up in. A lot of the outside shots, I discovered that Alex’s parents lived 10 minutes from my parents, and we shot a lot of the outside footage at night outside his parents’ place. It was a lot of fun. The whole time, I was thinking to myself, “Why am I even doing this?” [laughs] But I was still having a good time doing it. My only hope was that the experience of filming it and the experiences we had on the shoot, with a cool, easygoing crew you enjoyed spending time around, somehow could translate into the final product. At the end of the day, it turned out to be like that. Once I got over having to look at myself so much, I was really pleased with the outcome. I’m really glad we did it.

SILY: That’s cool it became a generational look-back for both of you. What was your relationship to music growing up?

KD: Basically, it goes back as far as I remember. My parents were always singing, playing reggae music and classical music. When I started to go to school in Long Island, I was surrounded by kids playing a lot of hard rock. My dad was really into ballads and funk. He had a wide array of interests music-wise. One of my really close friends, his older brother had a guitar, and when I saw the guitar up close, I was completely hooked. I had to have that as part of my life.

Photo courtesy of the artist

SILY: What came first on New Unknown: the music or the lyrics?

KD: Definitely the music. The first song was probably “Illuminate”. It’s generally like that: There’s a melody or groove that gets into your head. That’s the most fun part and a big motivation, having something rhythmic pop into your head that becomes this inner mantra. Something that at first was inside your heart and mind is now coming out of speakers powerfully. It’s a very life-affirming process. Once that happens, you step back and listen to it and think, “What is this music saying to me?” Then, it’s time to go inward and put lyrics onto it. It’s an emotional crossword puzzle. You have these melodies and think, “What words can I fit into this melody that conveys what I’m feeling?”

SILY: I was talking to somebody yesterday who compared songwriting to solving a 1000-piece jigsaw puzzle that doesn’t exist yet. You’re both making and solving the puzzle.

KD: That’s a really good way to describe it.

SILY: Speaking of mantras, some of the most prominent lyrics on the record, whether “breathe in, breathe out” or “we can be one,” are mantras. What about that type of writing is so powerful to you?

KD: Something that you can say over and over again is somewhat of an affirmation, a prayer. We can be one whatever condition the world is in, no matter what energy or intention you can put in the world. To me, that’s a positive effect, for one to contemplate how these things can be possible. What needs to take place for these things to be possible or realistic? When it’s set to music, it gives an extra energy as a way of making sense of things. “Breathe in, breathe out,” it’s just a meditation on the impermanence of things. Nothing really lasts forever. But it goes on to say, “Within, without, it all begins again.” When one door closes, another door opens. There’s always a birth, a start of something new. The idea of letting go and breathing through things, no matter how difficult things get. Just remembering the breath and the practice of non-attachment is what can help us get through life at its most difficult times. They’re not bad mantras to have. They’re coping mechanisms, if you will.

SILY: What’s the story behind the cover art?

KD: I saw an artist on Instagram whose work I thought could possibly convey what I was trying to do. After agonizing over what the cover should be, I thought, “You know what, let me do this: The album is done, I’m gonna reach out to an artist I like and commission them to create for this album a gift to myself. If it works out that it can be the album cover, then that’s gonna be the album cover.” I found the artist Sarah Stewart. Her project is Rattlesnakes and Rainbows. I contacted her out of the blue, slid into her DMs and told her I was a fan and asked her whether she’d be interested in creating album cover art. She agreed. I asked her to do it if the music resonated with her. She did, and when she first sent it to me, I was kind of taken aback, like, “Woah, this is a lot.” But the more I listened to the music and looked at the album cover, the more I thought they supported one another. It brought me to a place of disbelief that this art exists as a way of me contacting her and asking if she would do it and her agreeing to do it. It was like a cosmic wink: “Keep going with this. Take this out of your experience and try to keep going with others.”

SILY: Are you playing these songs live?

KD: Not as yet. I haven’t thought about playing my own music live in a long time, and I’m realizing it’s something I’m probably going to be doing as another gift to myself that I can share. [laughs] [The album] wasn’t really created with the intention of playing it live. Now, I’ve created another puzzle for me to figure out. That’s also another part of the fun: Taking something that only exists on recording and bringing it into the real-time, in the air, in your ear experience live. That’s a whole other experience that’s going to be exciting--and involve a whole lot of scheduling. I’ll do at least some of the songs live.

SILY: Anything next for you in the short or long term?

KD: I’m hoping to do some more recording. I’m hoping it’s not going to take another pandemic to happen. It definitely took one for me to realize I can record myself. To be able to record oneself without the use of a studio is the ultimate freedom. There’s definitely been a lot more music written since the recording of this, so I look forward to tracking that and bringing these new songs to fruition some way, some how. Next summer will bring more Roots touring. [I always have] The Tonight Show. I also have a 14-year-old and a 17-year-old. All the life that exists outside of music, too. It’s a very full life.

SILY: Anything you’ve been listening to, watching, or reading lately that’s caught your attention?

KD: I really do love the band Khruangbin. I’m enjoying their live shows and find them really inspiring. It’s been fun to sit with the family and--with many grains of salt--look at The Secret Language of Birthdays. Viktor Frankl’s Man’s Search for Meaning, I’ve been returning to that recently.

Nothing else is jumping out at me. I’ve been trying to write a lot. The winter is when I get into listening to a lot of other people’s music. Last time around, it was a lot of early Peter Gabriel and Genesis, at the end of last winter. I was discovering a lot of things I hadn’t heard.

SILY: When you’re writing, do you tend to block out other music?

KD: It’s sort of random when it happens, but winter time is when I’m more inside listening to stuff. Over the summer, I like listening to reggae. Now that summer’s ending and [it’s] fall again, it’s time to go record shopping because [listening to music is a] more indoor activity. I just got the new Kendrick Lamar on vinyl, so I’m looking forward to getting into that.

But when I’m working on music, I have a phone full of ideas, so you could play “phone message roulette,” and part of the fun is listening to things you’re separated from in time and hearing what sounds like a whole other person creating.

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chartertrust · 2 years

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Weather elk grove village tuesday

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He humorously reminisced about praying to God to help him keep it together during the performance, one he played while high on L.S.D. Mathews, percussionists Karl Perazzo and Paoli Mejias and vocalists Andy Vargas and Ray Greene.Īfter “Europa,” Carlos went into a long rap about Woodstock ’69. Santana then shifted the mood with his fantastic ballad, “Europa.” It boasted a delightfully hesitant rendering of the soaring melody and unexpected avenues in his solo, when he rolled the treble off his guitar giving it what Clapton called “the woman tone.” On this and every number, Santana was supported by a first-rate row of players including longtime bassist and former Miles Davis sideman Benny Rietveld, keyboardist David K. The band then cooled things down by serving up some of their hit ballads including “Head to the Sky,” “That’s the Way of the World” and “After The Love Has Gone,” before upshifting to more high-energy favorites – “Boogie Wonderland,” “Let’s Groove” and the set closer “September.” The whole affair seems largely directed by the powerful centerstage presence and thumping bass of Verdine White. The entire band is as tight “as a mosquitoes’ tweeter” to quote another great musician, Nina Simone. Even at 71, Bailey hits all the high notes, probably the highest of high notes in all of music, at least since they stopped cranking out operatic castratos in the 17th Century! His son, Phillip Bailey Jr., shares both the lead duties and otherworldly vocal instrument of his father. The most striking aspect of an EW&F performance is the undiminished state of Phillip Bailey’s soaring falsetto voice. They hit the ground running at Bethel with an uninterrupted string of eight high-energy hits including “Shining Star,” “Getaway,” “Serpentine Fire,” “Sing A Song” and “Got to Get You Into My Life.” The focal points are the three founding members still performing today – the always smiling bassist Verdine White, percussionist and vocalist Ralph Johnson and the extraordinary lead vocalist Phillip Bailey. Even without the presence of their founder and leader, the late Maurice White, the 12-piece band put on a staggeringly energetic and hit-packed show. These are songs that have lived on as samples powering hits by new generations of artists, from Drake to A Tribe Called Quest to Bjork. They are one of the most successful acts in history, selling over 90 million albums, with a litany of Billboard charting singles that betters most acts of their era. Though they are enshrined in the Rock & Roll Hall of Fame and have earned a boatload of Grammy Awards and other honors, Earth Wind & Fire just don’t seem to get the respect they truly deserve.

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The show Sunday, August 21 at Bethel Woods was made even better by the staggering 90-minute plus opening set by Earth, Wind & Fire. As always, he was again backed by an ace band that served up the crowd-pleasing hits and a few surprises. Each and every time, Santana would rise to the occasion and spit with his guitar “sapphire bullets of pure love,” quoting McLaughlin. The fourth was also at Bethel Woods, in the summer before Covid-19 descended to darken stages and our lives. My third live experience was when he was even deeper into his jazz phase, a 1988 performance at the Saratoga Jazz Festival with a band co-led by Miles Davis and Weather Report saxman Wayne Shorter. The first two were in the early and mid-‘70s respectively, shortly before and then after his embrace of guru Sri Chimnoy and his legendary guitar battles with another Chimnoy acolyte, jazz fusion great John McLaughlin. I have had the pleasure of seeing Santana live on at least five occasions.

#Weather elk grove village tuesday

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tomorrowxtogether · 2 years

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Tomorrow X Together Reflect On Individual Growth, Reuniting With Fans To Celebrate 3rd Anniversary

To celebrate Tomorrow X Together’s third anniversary, the K-pop powerhouses made it an international affair. After topping charts across America, Korea, Japan and beyond, the quintet made sure to make their latest fan experience was accessible to as many as possible.

The critically acclaimed boy band’s “2022 TOMORROW X TOGETHER Fanlive MOA X TOGETHER” event took place on March 5 and 6, held in person in Seoul and via a real-time live stream for as many of the group’s global fanbase—known affectionately as MOA—to attend. While showcasing TXT’s range of releases (from K-pop hits to original English and Japanese singles), alongside surprises for viewers (like the live debut of their cover of Marteen’s “Sriracha”), the guys also had the chance to note the growth that they’ve seen from one another as performers, artists, and people.

To celebrate their three-year anniversary together since hitting the music industry in March 2019, read on for personal reflections from SOOBIN, YEONJUN, TAEHYUN, BEOMGYU, and HUENINGKAI on their time together and what’s next.

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Jeff Benjamin: Congratulations on your third anniversary! This one was exceptionally special as you reunited with fans in person for your fanlive. How are you feeling now that the festivities are over?

YEONJUN: It was a truly incredible weekend. We can confidently say that all five of us had a blast, and from what we hear, so did our fans. Few things match the atmosphere and pure energy of a live show. It’s an extremely addicting experience and we’re grateful to be part of it.

HUENINGKAI: Our fanlive was very special to us because we could meet and interact with our fans face-to-face. We love our MOA and have been waiting for this opportunity for a long time. I can’t express how great it feels to be able to see our fans in person and to connect with them in a shared space. There was so much we wanted to show them and we’re very glad that our MOA had a good time.

Jeff Benjamin: I thought it was also awesome that you had a day for global fans and even performed songs in English and Japanese. How did this idea come together?

BEOMGYU: Our anniversary is a celebration not only for the five of us but for all MOA everywhere in the world. The fanlive was a chance for us, MOA and Tomorrow X Together, to revisit our music and memories from the past three years. We thought it’d be a nice surprise to perform a few songs that we haven’t really showcased before, especially because they’re all brilliant songs that receive a lot of love from our fans. We had a lot of fun.

Jeff Benjamin: What kind of reactions did you feel from performing your new songs as well as your “Sriracha” cover for an audience for the first time?

SOOBIN: Our fans loved it. So did we. We could really feel the excitement from on stage, even from our online audience who continued to send us comments in real-time. “Sriracha” is definitely a stand-out for us because it was one of the songs we rehearsed first as trainees. The performance does hold a special place in our hearts. It’s a fan-favorite as well.

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Jeff Benjamin: To mark the occasion, can each member share something noteworthy or different about his fellow members at this anniversary versus your last anniversary?

SOOBIN: YEONJUN is noticeably less nervous. I can tell he’s enjoying every aspect of being on stage. BEOMGYU has become more precise with setting up his in-ear and mic. TAEHYUN has an incredible memory—he knows exactly when to do and say what to keep the show flowing. HUENINGKAI is great at adlibs—he makes clever comments that make the atmosphere more lively.

YEONJUN: SOOBIN has just greatly matured all aspects. He’s a good leader. As a person, BEOMGYU has become stronger and more resilient—I think he’s grown a lot. TAEHYUN is always making efforts to improve himself in any way he can. It’s an admirable quality. HUENINGKAI has a kind heart—he’s always watching out for others and has become even more dependable than he already was.

BEOMGYU: SOOBIN keeps emphasizing how sexy he’s become, but I don’t really see it...jokes aside, he’s a great leader. Our teamwork has improved and he’s definitely a big part of that growth. From rehearsals to the last encore, YEONJUN had so much fun throughout the entire show—I think it was because we were able to meet so many of our MOA in person. I’ve mentioned this before, but I admire TAEHYUN for his passion; it shines. He’s always growing in some way. HUENINGKAI has become more relaxed on stage. He’s laid back and enjoying the show fully. I think he’s also become more assured.

TAEHYUN: SOOBIN’s stage presence has grown significantly and he’s grown as a performer. YEONJUN balances his energy throughout the show with great expertise—it’s a very important skill to have in order to put on a good show. BEOMGYU has definitely become much more witty. HUENINGKAI has become thick-skinned, but every bit in a good way. He’s very confident in his actions and words.

HUENINGKAI: SOOBIN absolutely enjoys performing and engaging in the talk and game sections [of concerts]. YEONJUN has become more confident—he’s quite self-assured while performing every song. BEOMGYU keeps the energy high, he can keep it exciting, but more than anything, I think he understands MOA so well to the point where he can pinpoint exactly what our fans want at any given moment. He made our fanlive more fun. TAEHYUN was already good, but he’s vastly improved as a performer in all aspects. He’s mastered every performance.

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Jeff Benjamin: What else can you share that's coming for Tomorrow X Together this year?

TAEHYUN: Our fans may already know this, but, yes, we are working on new music. We always are. We can't wait for our MOA to finally listen to and see everything because we have so much to show them. We think, or hope, that our fans will like what we have in store. Specific details on the new music will, unfortunately, have to be a surprise, but we believe our fans will appreciate it.

Jeff Benjamin: Any additional messages for international MOA?

Tomorrow X Together: Thank you for always being with us in our hearts. Your love means everything to us. We can't wait to return more of this love to you soon.

#txt #tomorrow x together #220325 #article #forbes #soobin #yeonjun #beomgyu #taehyun #hueningkai

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issaxcharlie · 4 years

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We say we're friends, we play pretend (1/2)

Pairing: Charlie Gillespie x Fem reader

Summary: Charlie and Y/N were best friends and a couple as teens, after their breakup they meet again 4 years later on the bootcamp of JATP and have to work together. Will something else happen or they are just friends?

Charlie must have imagined something like this could happen. Since Kenny discovered her 5 years ago, she has been a really close friend to the director, participating in some way or another in almost all his projects.

In front of him after years, Y/N Y/L, his childhood best friend and ex-girlfriend. The young actor is not going to admit that he saw every single one of her projects or how moved he was by her in each one of them, many times even thinking of maybe sending her a little message saying the incredible job she did.

But he never found the courage.

It’s weird to remember how he spent most of his life next to the woman, now one of the top youth artists with multiple musicals and movies on her hits list. They always had a strong bond, every single day together. Sleepovers, music classes, dancing classes, homework, parties, movie nights, hockey, illness days, pretty much everything. At the age of 15 they began a very sweet and innocent relationship that ended at 18 when Y/N moved to New York to work in her first leading role.

The break up was on good terms but painful, so painful that both preferred to lose contact completely than to have the other from time to time opening the wound again and again.

And there she was. As beautifil as ever, speaking happily with Kenny while Madison and Owen jump up and down, Jeremy smiles and Charlie looks like he wants to throw up.

“Y/N Y/L, my golden star. She is the official composer of the soundtrack, and she will be supporting you throughout the album process as well as helping Paul and me in other creative aspects, I know she is the same age as some of you but she has a lot of experience in this and all the necessary preparation so don't hesitate to get all the knowledge you can out of her."

Everyone introduces themselves until the guitarist is the only one left, luckily for him, he’s in voice rest these two weeks so he literally cannot speak.

They both look nervous but the moment their eyes meet their complicity comes out and both smile slightly.

“He’s Charlie, he is in voice rest but we are fans of yours. We cried yesterday watching your last musical, it was just brilliant." Owen lets out hardly breathing, Y/N turns with a smile to see the Canadian boy who wants to kill his friend and then commit suicide.

“Thank you! This is going to be such an interesting experience.” The singer murmurs as she winks at Charlie.

2 hours later they had both been avoiding each other, Y/N writing in a corner while the band and Kenny discuss costumes with Soyon, in which at least half an hour has been wasted trying to understand what Charlie is trying to say with the few words he writes with an apple pencil on his ipad in his horrible handwritting.

Y/N gets frustrated and goes to where they are, approaching behind Charlie's shoulder to see the iPad. She quickly identifies the two words, one so crossed out that it looks like a doodle, but years copying each other's homework pays off.

"He's trying to say that if Luke isn't going to wear bandanas, at least consider wearing beanies." The young woman says as she leans on the shoulder of who was her first love.

Charlie freezes at their proximity, blushing a little at the feeling of being close after so long. Luckily his castmates don't realize it because all their attention is on her.

“You are just good for everything huh? Even deciphering hieroglyphs." Owen comments, smiling at her and winking exaggeratedly to make her laugh.

Charlie can't help but feel insecure with the situation. It could be a friendly thing but If Owen really tries to flirt with her, he doesn't know how he would react. Is sad enough not having her in his life anymore, having her as his best friend's girlfriend would just be too painful.

Now, he knows he’s exaggerating, and a lot. But he has to do something about it. Better safe than sorry.

He stretches his neck to meet the eyes of his ex-girlfriend, who is now only inches away. She quickly gets flustered, but hides it pretty well. The problem is that he knows every gesture perfectly and sees through her mask.

“Wh- What, Gillespie?” She manages to say, Charlie can’t help a smile seeing the way she still reacts towards him.

When you know a person completely, every facet, every gesture, every peculiarity, speaking without words is as natural as breathing. And they had both forgotten how amazing it feels to have someone in your life who is this compatible and magnetic.

They start a conversation, she answers to who secretly still believes as her person while he continues making gestures and mimics that no one else understands, writing a word from time to time to make the talk flow better.

"I know. Hey, it's not my fault! So you excuse yourself with the ‘can't talk’ thing huh? how convenient. Yeah, Ok, I will. I said I will!" Her words are the only thing that they manage to get out of the conversation that the secret ex-couple is having, since no matter how much attention they pay to him, they have no idea how Y/N manages to decipher it.

"I have no idea what's going on but I'll take it as a miracle, I was just going to suggest ignoring Charlie these 2 weeks." Jeremy jokes, everyone nods their heads.

“I mean, it’s still a good option.” Madison replies.

The 14 days go by quickly, and with the former couple spending time together daily, rehearsing Charlie's guitar solos together, with Y/N translating his horrible scribbles, or sometimes simply being close to each other enjoying the company, absentmindedly placing their hand on the other's leg or their forehead on their shoulder for a few seconds during the breaks.

Basically the whole team has noticed the flirtatious smiles and the looks, but Charlie was the weakest rival of both and the one who could release some information about it, and without being able to speak they basically ran out of an informant, since the young singer didn’t let go a word about her unexpected chemistry with the guitarist except the typical ‘we are just good friends’.

But without a doubt the energies began to multiply on Monday when Charlie arrived with the green light to be able to speak and start singing in rehearsals. Madison couldn't attend the first few hours because she was at school, so Y/N was going to cover her so the boys could practice.

“The first on the list is Finally Free, the place where we are going to record it only gave us two weeks from now so it will have to be one of the priorities. For the first rehearsal just vibe with the song and we’ll discover where to go from there. Oh, and good luck keeping up with my golden star, you’ll need it."

Y/N starts the first verse on the keyboard, and gets up to sing the chorus in the center, trying to ignore Charlie and looking up at Jeremy. She hadn’t heard him sing for a couple of years, but the same butterflies appear in her stomach and she knows that she will melt if she looks into his eyes.

Unfortunately for her, Kenny doesn't have the same plan, and just before the second verse ends he tells her to walk over to Charlie, who immediately smiles and sings the pre-chorus with much more enthusiasm. The energy they radiate floods the place, both getting closer and closer. By the time the bridge arrives, their foreheads are practically against each other, their lips only an inch apart, and with a confidence and comfort while singing to each other that makes all those who suspected that there was something between them now practically sure.

Luckily there are only Jeremy, Kenny, Owen and Paul in the room, who decide to play a game of divide and conquer now that the snitch part of the equation can speak.

“Y/N, can you come with me for a moment? I have a new idea for ‘Wow’ and a fresh pair of eyes is just what I need.” Paul says, sacrificing himself for the greater good.

“Yeah, of course, I’ll be right back.” The singer takes the opportunity to leave this staring game with Charlie and quickly walks away from the guitarist, who winks at her in a flirting way in response.

The moment they walk out the door, everyone turns to see Charlie, who has no idea what they're up to.

“What?”

"After what just happened you just can't keep pretending nothing's happening. Man, that was more intense than the whole Troyella moments during all three movies." Kenny pretends to be offended for a second and then nods.

"I have never seen anything like this in all my years of career."

“Yeah dude it was electric.” Owen replies, smirking.

“She’s my person.” Charlie mumbles.

If he’s being honest with himself, deep down he always knew she was the only one for him. But that realization was freaking scary. What's next if the only person for you has already turned the page? gave up without a fight? what's left?

"What?" The three ask in unison, and Charles begins to sing like a bird.

“We grew up together and then we lost the way. Like in those romantic movies where just everyone knows they belong together except the childhood best friends and then they end up ruining their lives by being in denial.”

“From what I saw getting back on track shouldn't be too difficult, Charlie. I assure you that whatever you feel she feels it too. Her eyes don’t lie." Jeremy tries to reason with him.

“Leave your teen problems behind. You are old enough to decide what you want and find a way to make it work. But you have to stop pretending that nothing is happening first." Owen scolds his friend.

“Do you love her?” Jer asks.

“That answer is always going to be yes, I just could never stop loving her even If I tried. And I did.” He really did. The surprise he got when the second he had her close to him his heart began to beat like crazy and all he wanted was to hug her and fix everything. It was as if when seeing her eyes time hadn’t passed, as if only the day before they’d been goofing around together. That bond is so big that he doesn’t believe it’s possible to break.

“Then do something about it, bro! Go get your girl back!” Jeremy advises while Kenny smiles.

“Yeah man, it’s ‘Now or never’ like her song, and I guess ours too now? Since she wrote it for Sunset Curve? Well, anyway, it’s like our song says.” Owen exclaims excitedly.

“Ohhh, musical inspiration, let me try. ‘Get up, get out, relight that spark’.” Jeremy sings to Charlie.

“Jer, you are a genius. If you think about it wake up is actually a pretty good soundtrack song for this situation. ‘It's not what you lost, It's what you'll gain raising your voice in the rain’.”

They both keep singing the song until they reach the bridge, Charlie tries to look frustrated but a slight smile escapes his face.

They are right, he still hasn't lost this fight.

👻PART 2 RIGHT HERE

#jatp fanfic #jatp imagine #jatp fanfiction #charlie gillespie imagine #charlie gillespie x reader #charlie gillespie one shot #jatp luke #luke patterson fic #luke patterson x reader

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fenoderee · 3 years

Text

Shinya [Drums] Interview

Our fourth solo interview is with Shinya, who is the foundation of the band. Shinya has been focusing on simple phrasing and groove in recent years, so how did he approach his latest album "Oboro"?

Basically I don't think about the details, I just do what comes to my mind and I don't worry about it.

-It seems that the songwriting process started very early on, but did you have the new album in mind from the beginning?

Shinya: That's right. I've been working on the songs for the new album. So we decided to release a single, and we talked about which of our existing songs we should release as a single, and "Oboro" was chosen.

-In your case, I personally feel that you've always written songs with a lot of energy or beauty. When you were thinking about the album, what kind of ideas and images did you have in your mind in the early stages of composition?

Shinya:I didn't really think about it before I wrote the song, I just started writing it, and as a result, I couldn't write anything but intense stuff.

-When you say "intense," do you mean songs with a fast BPM?

Shinya: That's right.

-There are several ways to compose a song, how did you do it this time?

Shinya: Recently, I've been using a plug-in guitar instrument that I really like. It has a lot of heavy sounds in it, so I just play it and think about what I want to do.

-What kind of composition system do you currently have at home? It is known to your fans that you are an Apple fanatic, and you seem to be changing to the latest version every year. Do you use the same kind of system for your compositions?

Shinya: It's the other way around, I'm very minimalistic now. I only use one laptop for composing.

-Do you want to install all your DTM software on the computer?

Shinya: That's right. I don't play guitar anymore when I write songs, so I've removed the audio interface. It's a very compact period.

-At the time of this writing, you are touring the country with the "Meguro Rokumeikan Gig", but if you take that computer with you, you can compose music in your dressing room?

Shinya: If I wanted to, I could, but I don't think I will (laughs).

-Did it change the way you came up with the ideas and the process of shaping the songs?

Shinya: That's right. When I used to compose, I used to play my guitar at home and write riffs by myself. But now I don't have a guitar and I'm working on it, so I think the guitar phrases I make have changed.

-So the intense songs you wrote were not chosen for the single, but do you have any plans to make it into the album?

Shinya: The song wasn't selected when it was written, so it was probably rejected (laughs).

-That's not something to say while laughing (laughs). By the way, Shinya, you're the type of person who actively goes to see other people's live performances. I think the main reason is because it's your favorite band or artist, but I also think that seeing a live performance can stimulate you in terms of calligraphy and creative therapy. Now that I have become a member of Corona, I can no longer go to live concerts, and DIR EN GREY has almost completely stopped performing. What do you do for musical input in such a situation?

Shinya: Hmmm... I don't think so at the moment (laughs). Especially when it comes to music.

-Do you ever go through various albums and videos by yourself?

Shinya: No, I don't. I just use what I have inside me right now.

-Shinya's musical tastes are well known to his fans, but is there anything new that has resonated with you during this composing process?

Shinya: Hmmm... I haven't explored anything new in the other solutions.

-Did you go back to your roots and what you like?

Shinya: No, I didn't think about that too much, I just made the songs naturally.

-How did you spend your time at stay home, as a musician and as an individual?

Shinya: I was doing nothing but editing videos (laughs). That's why I was spending most of my time on my YouTube channel.

-I've been watching it for a while now, and I'm also a subscriber to the channel, so please answer me politely (laughs).

Shinya: Oh, thank you very much (laughs).

-Of course it's fun to do, but is there anything exciting about it?

Shinya: When I was working on it, I thought that it was very similar to songwriting. You can keep working on it, and it never ends.

-If you want to be particular, you can go all the way.

That's right, even for a single video, there are endless things you can do.

-The timing of inserting a subtitle, the choice of font, etc.

Shinya: Yes, yes (laughs). Once you start paying attention to the details, there's really no end to it. It's similar to songwriting..

-Is Shinya the type of person who spends a lot of time focusing on various aspects of a song, even when he's writing it individually?

Shinya : With DIR EN GREY, I always bring the original songs to the studio before I've finished them. I know that as the members' ideas come in, it will definitely change from the shape I've created. That's why I don't go into too much detail (laughs), I only make it to a certain point because it's going to change anyway. I try to make it so that the members can understand the side of the song.

-You said that when you select songs in the band, you don't know who wrote which song. Do you ever get feedback from the band members afterwards?

Shinya: I was asked afterwards about the songs I wrote this time. "That's Shinya's song." Then, he said, "Oh, I liked it."

-So you've had that conversation? If you listen to the demo, do you know who made it?

Shinya: Yes, you're right. Yes, I don't have a definitive answer, but I can vaguely tell.

-Although it wasn't adopted, it's nice to be told that it's your favourite song.

Shinya: Well...yes, but the song selection is a majority decision.

-There are always multiple layers to a song, but each time you're inspired to write a new song from a different angle?

Shinya: No, I don't have any particular plans at the moment, since I'm in the middle of an explosive screening (laughs ). Once the songwriting starts again, I'm sure I'll be motivated like you said. I still have my computer with me, but I'm not writing songs, I'm collecting videos (laughs).

-That's a good point (laughs). You've been working on the album for a long time, what do you hope to achieve with it?

Shinya: Up until now, I've been thinking of songs that can evolve in a live setting, but this time, even if we make an album, we don't know if we will be able to perform live or tour like we have in the past. So I've been thinking about it with that situation in mind.

-In other words, rather than evolving through live performances, do you have a sense of construction that evolves completely during the production process?

Shinya: Well, to put it simply, it's a nuance.

-Do you want to take a different approach to the drums?

Shinya: No, when it comes to drum phrases, I don't think about the details, I just do what comes to my mind. I don't worry about it too much.

-What was your impression of this single, "Oboro", when you heard the original song?

Shinya: Well... I was working on several songs at the same time, and I don't remember what the original "Oboro" song sounded like.

-Were the other songs that you were arranging and pre-producing at the same time too strong for you?

Shinya: It was all very strong. The drum approach for "Oboro" was just what I thought of when I heard the original song, without any worries.

We're going to do a live performance for an audience on the 6th of May, but we don't know what's going to happen after that, so we're going to do it as if it might be our last one.

-You said that you often set up an electric drum machine at home and make drum arrangements while playing, is this the same style you used for "Oboro" and the new songs you were working on?

Shinya: When I'm thinking of drum phrases, I don't use an electric drum but just use the mouse. In the past, I used to focus on the basic groove of the song, and I used to add drum phrases while actually playing the drums. But the period of thinking while playing is over now…

-I didn't know you had such a time frame in mind (laughs). Thinking with the mouse is a way of avoiding the first days of DTM, isn't it?

Shinya: Yes, it's the way we did it in the beginning. I think the period of time I was thinking about it while I was in the city changed my way of thinking about drum place. It's hard to describe it in words (laughs).

-I'll take care of that. I'm a subscriber to the Shinya Channel, so be nice to me (lol).

Shinya: Well, I guess I should say I've got it all figured out. I've learned about the advantages of using an electric drum and the differences between using a mouse and thinking with an electric drum, and now I'm able to create phrases and grooves with just a mouse while playing the electric drum, so I think it's not a problem. I can now type in rhythms and phrases with the same time signature as if I were actually playing.

-Do you find it easier to come up with something unexpected by not thinking of phrases as you play?

Shinya: Yes, one of the advantages of playing the piano is that you can create phrases that you can't edit. You can create phrases that you can't edit with your own hands. That's why I started thinking about drum arrangements by typing with the mouse in the early days. In this song "Oboro", I used the mouse a lot in the A melody and other phrases. The demo phrases that I came up with using only the mouse were much stronger and weaker, but when I actually played them on live drums, I couldn't get that level of intensity.

-Do you mean simply the volume?

Shinya: That's right. The core of each sound has to come out properly in live drums, so even if you add a strong instrument, if it's too weak, the core won't come out. The image was different from the one I had in the mouse, but it turned out good, so I didn't have any trouble. I also thought a lot about the guitar in the drum braise of "Oboro". It's the solo part.

-It's a drum approach that is making a difference.

Shinya: Yes. I tried to make a good movement when I hit it. The form of the striking and the movement of the arms are flowing.

-You have a large number of cymbals anyway, and they are set up around the effects cymbals. Effect cymbals have a shorter blue sustain than normal cymbals. That's why when you use a lot of cymbals, do you consider the tendency of the sound of each cymbal and the length of the sustain while constructing the phrase itself?

Shinya: That's what I'm trying to do, to make it so that it's smooth and the previous movements flow. But when we were recording, we didn't talk about it that much. At the live show, I think "I used this cymbal on the recording, but I'll use that cymbal at the live show", so at the live show, I try to pursue the movement more.

-You‘re a drummer who can go beyond. You mentioned that you bring the same cymbals and settings to your recordings as you do live?

Shinya: There are as many cymbals as there are live, but the tycoons are more like two thimbles, two toms and one floor. It's a set of two toms and one floor.

-I think it's important to be careful when making drum sounds.

Shinya: Yes, it is. The drums are the most important part of the sound. I leave it to the tuner. I asked the tuner to listen to a demo of a drum phrase that I typed in with my mouse, and then I asked him to create a drum sound that would fit the phrase. I didn't start working with the drum tuner on recordings until 2019 (The World of Mercy), and he also joined me on several occasions during the tour. The sound on that tour was so good that we started asking them to play on 'The World of Mercy'. It's easier to make a good sound in a live setting, but if the tuner can make a sound that I'm happy with, then I can trust him for the recording. For the recording of "Oboro", they tuned it to the sound I had imagined from the beginning.

-I get the impression that you always do your recordings without getting bogged down, but this time?

Shinya: Just like that. We also recorded the coupling song "T.D.F.F." at that time, but we didn't get stuck. But I recorded it part by part, so it took a bit longer. If I'm happy with the intro, I'll go on to the A melody, and so on, starting from the beginning of the song. It takes a lot of concentration to record each part. Also, sometimes the song isn't written until the day before, so I haven't memorised the phrases yet (laughs). The structure of "Oboro" wasn't even ready until the day before we recorded it. So when I played it, I put the recording side by side and concentrated on each part.

-What did you think of the coupling track "T.D.F.F."?

Shinya: I didn't change much in terms of drum phrases, but I tried to give it a bit more energy. As a result, there are a little less detailed snare phrases than on the original version.

-When you do a self-remake, do you tend to go in with a different stance than the original?

Shinya: It depends on how it's arranged. If the whole arrangement is completely different, I'll consider it a controversial piece and work on it. But basically, I try not to change the original phrases. When SUGIZO joined X JAPAN, he said, "Classical phrases are all different depending on the performer, even if the phrases are not changed“ . That's why SUGIZO said he was playing the same phrases as HIDE. That's why I want to show that although the phrases are the same, they are actually different.

-It's all luck. Even though the phrases are the same, each note is different, and this progression is the growth.

Shinya: Yes. It's a bit embarrassing to call it growth, but I think it's different even though it's the same phrase. But there are things that only the ward of that time could do, but there are also things that only the ward of today can do.

-What mode are you in as a drummer in 2021?

Shinya: I don't really think about it, I just want to play a good drum.

-When I started thinking about the phrases in Mouse, it was also the time when the Band started performing and touring overseas, and the Band's drummers and musicians that I played with at festivals and other events were always saying, "The drums in DIR EN GREY are so circular and amazing. I wondered if Shinya had some kind of special meaning behind the way he phrased the songs“ .

Shinya: Even if I say I've gone back, the way I put it on is completely different from back then. I was thinking of doing something complicated back then, but now I'm thinking of making it as simple as possible. I'm saying that now, but I think it will change depending on what kind of new songs I'm going to play. I'm going to release "Oboro" as a single, but I don't think you can see the spirit of the album from this song alone, in fact I think the album will have a completely different feel. In addition to "Oboro", the other songs on the album will have more impact in the direction of things. I may have done something uncomplicated before the drums... (laughs).

-By the way, today was the first time you met your fans in Osaka, are you getting more excited about the show?

Shinya: Yes, I am. We're going to play to an audience on May 6th, but after that we don't know what will happen. So I'm going to do it with the mindset that it might be my last live. I'm looking forward to seeing how it will be expressed in the actual live performance.

Text/ YUKINOBU HASEGAWA, HIROKI KATAGIRI [GiGS/Equipment]

Photo/ REISHI EGUMA [C-LOVe CREATORS]

Translations by me.

#Dir en grey #Dir en grey Shinya #Dir en grey translation #fan translation #interview translation #Shinya #GiGS #Oboro #Dir en grey Oboro #magazine

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amygdalagustd · 3 years

Text

Kim Namjoon on Identity

Namjoon explores the concept of identity time and time again in his life and in his music. He tends to focus on how different parts of himself might be in conflict with each other, and the tensions and confusion that goes with that experience. People are filled with duality, sometimes to the point that it tears us apart. The question of “who am I?” seems a simple one, but underneath it lies a lot of complexity. Who do I want to be? Who do other people want me to be? How much of my identity is formed by my past? Can I change who I am? Can I be multiple things at the same time? Who is the real me? What does it even mean to be the real me?

The question of “who am I?” seems to both fascinate and terrify Namjoon. In this essay we will tackle the question together as I explore all the different ways that Namjoon contemplates identity in lyrics and interviews.

From his decision to become a rapper in the first place to the struggle of taking care of himself as a world famous idol to the questioning of what having an identity actually means, we will travel through Namjoon’s career and highlight all the moments that he asks himself:

“Who the hell am I?”

It’s no secret that Namjoon was a very intelligent and driven student who got good grades in school. In his earlier lyrics he often writes about the pressure that was put on him to succeed and follow a certain path in life. As someone who was good at studying it was expected of him to prioritize his education above all else. Namjoon fit into that role well, but behind the scenes his heart was longing for music. He discovered rap and decided that he wanted a different path for his life. BTS’s early work is filled with messages of following your dreams and not letting other people decide what type of life you want to live. Namjoon often talked about the struggles of living in between the expectations of those around him and his own desires for his future. Some of those conflicting feelings are expressed in Voice, the intro song to his 2015 mixtape RM:

Straight A student and underground rapper

I occupied myself all day with being graded with meaningless numbers like beef gets graded

I just wanted to succeed

because that’s the only thing I was told by others so much that I almost got sick of it

The mirage called happiness- I thought it would be held there

But, sitting at my desk, I was never happy, not for a single moment

I secretly hid a blank sheet of paper between the pages of my study book without my mom’s knowing

My identity that I wrote down along the sound of drums and bass

The feeling of breathing that is different from that of receiving grade reports

Even when I was the top of my class, my mind was never at ease

Is it absolutely necessary to want something that others want?

I secretly raise the volume of my voice

so that you can know, so that it can reach you

I again raise the volume of my voice

so that you can know, so that it can reach you

He also touches on the subject in Born Singer, which was released in 2013:

To be honest, I was scared that I was to prove myself after talking big

that I, who used to know only pen and book, was then to surprise the world

I dunno, that I and the world’s expectations are too asymmetric,

I was scared that I might betray everyone who trusted me

I stretch my burdened shoulders and step onto the very first stage

BTS and Namjoon will continue to talk about the pressure of society's expectations and the difficulty of following your own path in songs like No More Dream, N.O and School of Tears. Fighting back against the oppressive school system is a huge part of their message and mission in their early career. They ask their fans and themselves to look at the person that they are expected to become and question if that image is in line with their own dreams and desires. Namjoon wrestled with this question himself, and therefore has the experience and passion to guide others who might be struggling with their identity and the identity that is put on them.

Idol and artist

The concept of being an idol vs being an artist is one that comes back often in BTS lyrics. Namjoon is an underground rapper who ended up in a boyband, and the identity of being an idol is one that he has wrestled with quite a bit. Can you be both an idol and an artist? Does becoming an idol mean that you have to give up on being an artist? Does it matter if you call yourself an idol or an artist? Does it matter what other people say about it?

Namjoon mentions this conflicting identity in Awakening on his 2015 mixtape RM:

Every night I fight myself inside me

My heart pounds, and my colleagues stab me in the back

saying I became a cripple after going into a company

Yeah fuck you I’m an idol, yeah yeah i’m an idol

I hated it at one time but now I love to get that title

Unlike some keep denying [their identity] to the end on television,

I now fully accept myself, and I just do me

Whether I’m an idol or an artist- it actually never mattered

The way you guys look at me was what defined me

I was obsessed over titles and hung up on how people described me

Listen to the rap of the guy who became a bit smarter as time passed

Namjoon gets shit for being an idol from the underground rap scene and gets shit for being an artist from the idol scene. He is hovering in between, writing his rap lyrics with the power and authenticity of a hip hop artist while simultaneously dancing and looking like a full fledged boyband member. He responds to this dilemma with unwavering pride, the drive to prove himself and a fuck you attitude. This energy dominates a lot of early BTS music. They are still trying to find their place in the industry while not really knowing where exactly they belong. Songs like the Cyphers and Mic Drop highlight the anger they feel about the mistreatment they face from both sides of the industry while boasting about their accomplishments and pride in who they are. Just like Namjoon in Awakening, Yoongi also often mentions his struggles with the identity of being an idol in his solo work. In Idol, the title track of the 2018 album Love Yourself: Answer, BTS face the subject head on:

You can call me artist

You can call me idol

Or you can call me anything else

I don’t care

I’m proud of it

I’m free

No more irony

Because I’ve been me all the time

You can point your fingers at me, I don’t care at all

Whatever reason you have to denigrate me,

I know what I am

I know what I want

I never gon’ change

I never gon’ trade

Why do you talk loud “blah blah”

I do what I do, so mind your own business

You can’t stop me loving’ myself

Idol is a proud, joyful, wonderfully weird and confident self love anthem. It’s a celebration of who BTS are at their core. In the song, they have accepted all the different aspects of their identity and they don’t feel the need to fit in with just one label. In the future, they will go on to say that BTS’s genre is just BTS, and they see no point in categorizing themselves.

RM and Namjoon

In 2018, BTS released a documentary series called Burn The Stage. The series followed them throughout the Wings tour and was supposed to show a more raw version of them.

In episode 6, Namjoon said:

Being an idol star, you don’t have a choice but to have two identities. I invested a lot in my identity as BTS and RM, and this is really a dilemma. We need to find ways to overcome this, and I’m trying different things. I study, I read books. I need time to be wholly me, the original me that I know.

Everyone in BTS has a stage name, a person they become when they present themselves in front of their fans. On stage Namjoon is RM, a fierce and confident rapper, a powerful and charming performer, a dependable leader and someone who lives a fiery and intense life.

Behind the scenes, Namjoon is Namjoon, a man in his twenties who is trying to figure out how to be an adult just like everyone else. He likes to go on bike rides, take care of plants, go to museums, read books and spend time in nature. He gets lazy and reads webtunes for 5 hours straight and sometimes argues with the people around him because they annoy him.

Namjoon spends the years of his youth as part of BTS, in the public eye, and sometimes that causes tension between these different parts of himself; the stage persona and the private person. In Break The Silence: The Movie which came out in 2020, there was a lot of talk about identity. During one of Namjoon’s segments he said:

There is also the fear of how well I’m taking care of myself, the Kim Namjoon as a person. Aside from money, fame, and a sense of calling, what do I really have? When you have those things all other things start to feel really valuable. Those who don’t have them would find them really special. I think it’s a repetition of that, so for me, there is a fear about whether I’m faithfully living the story of my life to the fullest.

He also mentions this dilemma in Airplane pt.2 on the 2018 album Love Yourself: Tear where the lyrics go:

Who should I live as today, Kim Namjoon or RM?

25, I still don’t know how to live well

For Namjoon and anyone in BTS, there is no simple answer to this question, as the nature of their job puts them in a position that makes it hard for them to develop a sense of self outside of the work they are doing. Even though Namjoon is part of an incredibly successful band, that doesn't mean he got it all figured out. As he has poured his youth and his energy into becoming the best performer he can be, he now feels like the Kim Namjoon behind the scenes deserves some energy and space to exist too.

Rap Monster and RM

Before Namjoon was RM, Namjoon was Rap Monster, a stage name that he used until November of 2017. The name Rap Monster fits the fierce and somewhat angst-ridden style of music that Namjoon was making in the beginning of his career. He decided to move on from the name in 2017 because it was no longer representative of him and the music that he was making.

In an interview with Entertainment Tonight Namjoon said that RM could stand for many things. He mentioned Real Me as one of the possibilities, but seems to prefer not to pin one specific meaning to the name.

In another interview with J-14 Magazine when asked what kind of advice he would give to himself in 2013, he said:

Hey Namjoon, Don’t name yourself Rap Monster. You’re a human. You’re not a monster. You’re a beautiful human.

Namjoon has often said that one of his missions in life is to love himself. This struggle to love himself often reflects in his lyrics, and now also in his decision to change his stage name, as the old one had some negative connotations to it. Perhaps Namjoons struggle with self acceptance, self worth and self love is one of the reasons that identity is such a big theme for him, as he is trying to figure out how to be a Namjoon that he can love. RM is a stage name that is more aligned with that goal as it leaves more room for flexibility and change.

Map of the Soul

The subject of identity is explored to the fullest in the Map of the Soul era that started with Map of the Soul: Persona in 2019, followed up by Map of the Soul: 7 in 2020.

Map of the Soul is inspired by the ideas of psychiatrist and psychoanalyst Carl Gustav Jung. The words persona, shadow and ego that are used in Map of the Soul come directly from his theory. BTS uses these concepts to examine different parts of themselves and their career over time. A lot of this era feels like a final examination of the question that Namjoon has been asking himself in different ways throughout his entire career: Who am I?

In Intro: Persona, the opener to both albums, Namjoon writes about his journey with identity in the first few lines of the song:

“Who am I,” a question that I’ve been asking myself for my whole life

A question that I will probably never be able to find the right answer for

If I were answerable with only a few words,

God wouldn’t have created all those many beauties

Namjoon realizes that he will probably never have a clear answer to the question of “who am I?” and he accepts that. He recognizes that his identity can’t be summed up by a few words or traits and that this isn’t a bad thing. Sometimes it can feel more secure to build our entire sense of identity around one aspect of ourselves (I am a straight A student, I am an underground rapper) but that puts us in a position without flexibility and without space for growth. As different parts of ourselves clash with each other we end up feeling scattered, unsure of who we are, and angry at ourselves. It’s only when those different parts of ourselves are allowed to co-exist that we can find peace and a true sense of self.

BTS will talk about this idea in other songs too, like in Idol, where Taehyung sings:

There are tens and hundreds of myself within me

Today, I greet my another self

They are all me after all,

so I just run rather than worrying

The notion also comes back in the speech that BTS held for the United Nations in 2018. The final message of that speech was to find your name and find your voice by speaking yourself. There was a lot of talk about losing your identity as a young child in favor of fitting in, and Namjoon encouraged everyone to be their own person and to find their own voice back. Throughout the speech he mentions how he is both an idol and artist, Kim Namjoon and RM, and also just an ordinary 24 year old guy. He is saying that he can be many things at once and strives to love all those different parts of himself at the same time.

In the final verses of Intro: Persona, Namjoon boldly and confidently claims that he is no longer ashamed of the different parts inside of him, writing:

Yeah my name is R

The ‘me’ who I remember and who people know

The ‘me’ who I created by myself to speak my mind

Yeah, I might have been deceiving myself, I might have been lying

But, I’m not ashamed of it, this is the map of my soul

The lyrics continue, focusing on duality, complexity and balance within his identity, accepting the different parts of himself that coexist together even if they clash:

Dear myself

You must never lose your temperature

because you don’t need to be warm or cold

Though I might sometimes pretend I’m good and sometimes pretend I’m evil,

this is the barometer of my direction that I want to set

The ‘me’ who I want to be

The ‘me’ who people want

The ‘me’ who you love

And the ‘me’ who I craft

The ‘me’ who’s smiling

The ‘me’ who’s crying sometimes

Living and breathing every second, every moment, even now

Within these lyrics there is a tone of direction and intent rather than one of being lost and questioning. This tone is very strong throughout the entire Map of the Soul concept, especially in ON, suggesting that maybe “finding” your identity isn’t about anxiously defining every single part of your personality, it’s more about choosing who you want to be and boldly pursuing the world as an incomplete human being. In the end, there is no simple answer to the question of “who am I?” and that’s okay.

All lyrics translations come from Doolset. Visit the website for additional notes and interpretations of BTS lyrics.

#bts #namjoon #rm #my writing #bts essay #long post #identity

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littlemixnet · 3 years

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Jade Thirlwall on Little Mix babies, learning the art of self-love & her first foray into the world of beauty.

As she releases an astrology-inspired eyeshadow palette with Beauty Bay. “I suppose I've got quite a hectic life – or had quite a hectic life, before lockdown," Jade reflects as we chat on the phone one (surprisingly) chilly end-of-September morning. “But lockdown gave everyone a chance to reflect and think about their priorities – and so I’ve come out of that experience with even more of a drive and more of an ambition to achieve all of the things that I want.” Outside of music? For 28-year-old Jade Thirlwall – one third of record-breaking girl band Little Mix – making moves in the beauty industry sits high on that list of priorities. “Whenever we do videos, I’m always the one that sends mood boards to the makeup artist and I’m like, ‘Ohhh we should try this look and we should do this eye,'" she laughs. So teaming up with Beauty Bay to release a 42-pan eyeshadow palette inspired by her passion for crystals, spirituality and astrology (who knew?) seemed like a natural step. "I knew that together we could create my dream palette, something which my fans can use to create out of this world of lewks.” Speaking from her London apartment, Jade is relaxed, open and oozing with passion – for her life in Little Mix, her personal life and her upcoming beauty ventures alike. And not to mention: very happy the weather is turning, so she can roll-out her autumn-appropriate palette on post-lockdown nights out, pronto. “I’m a Northern winter girl. I like the cold. I like feeling snuggly. Yeah. Summer is not my vibe to be honest.” I love beauty – always have done from a very early age. This is a bit of a throwback, but I did a makeup course at college back in the day, so I’ve always had a love for makeup throughout the years. I think Little Mix have tried every single thing you can think of when it comes to different looks and trends. I think it’s known amongst my fans particularly that I love experimenting with colour. And I love the whole glam of it all and all the different eyeshadows. Every time I do a shoot or a video it’s a chance to do a different look – and I’m very versatile when it comes to that. So yeah, it felt like once me and Beauty Bay started working together, they are known for doing the best palettes, so it seemed right. Over the past couple of years especially, me and the girls have started delving into more of the things that we’re individually passionate about or into whilst working together, and it has been really lovely. We’re obviously really supportive of each other’s ventures, and I suppose it gives the fans more of a chance to see what we’re into ourselves. And it gives people that don’t really know a lot about Little Mix or about us individually, it gives those people a chance to be like oh, actually… so Jade is into this sort of thing and Leigh likes this sort of thing and Perrie is into that and… yeah. It has been lovely, and I suppose the last sort of year and a half has given us all a chance to reflect and think about the things we want to do on our own as well as in a group. I’m at a point now in my life that I’m definitely so comfortable in my own skin. I know exactly what works for me. I’m not afraid to try new things and experiment with colour and stuff like that. I think as someone who loves art and stuff in general as well it just sort of lends itself well. It's an art form to me, makeup, and expressing yourself that way is really amazing. So it felt really right [to collaborate on an eyeshadow palette with Beauty Bay]. I suppose lockdown – it has given everyone a chance to gain a better perspective of all the things that they're into. The best version of myself in terms of makeup is just elevating my natural beauty. I think everyone should do that! I think when I first started out in Little Mix and as a teenager, makeup was worn as a mask to cover who I really was, if that makes sense. And as I’ve got older, I’ve realised that it isn’t a mask; makeup is more of an expression of who you actually are, and it’s not to cover yourself up. It’s to elevate yourself. And so, now, whenever I do a look, I don’t tend to cake it on as much as I used to. I do things that accentuate my features already and don’t try and hide it. I think my go-to makeup on a night out or something is just a classic bronze-y beautiful eye. That’s my go-to because it suits my skin tone and I feel like nobody can go wrong with a lovely golden bronze-y eye. And that’s definitely in the palette. I think this palette was an opportunity to show everyone a bit more about myself that may be they didn’t know – like my love for crystals and healing crystals; my spirituality which is definitely something I’ve become more and more passionate about over the past few years. I needed something that kept me grounded and kept me well, mentally and physically. And so, spirituality became a part of that and I’m obsessed with crystals. My mam is obsessed with crystals and so that was one of the first thoughts when making the palette was incorporating all of that. And so, that’s kind of the original inspiration. I feel like the palette – it was important for me to have something for everyone, because I’m well aware that some people don’t like experimenting too much or some people love having loads of fun. So when I agreed to do this with Beauty Bay, I wanted to make sure it catered to every kind of person and every different skin tone. No matter how much you want to be adventurous or not, it’s all in there. I always have crystals with me wherever I am. Certain ones are catered to certain aspects of your life or what you need in that moment. I’ve labelled a couple of shades in the palette after my favourite ones – tourmaline is my favourite, which wards off any negativity. I think no matter how much people believe in it or not, just from a psychological perspective, for me, it’s all about grounding yourself. I think it’s really important to get rid of any negative energy and constantly keep the positive coming in. I suppose I don’t really have a specific religion so I use that as a means to believe in something greater than me and that works for me. There have definitely been a lot of changes in my life recently. A lot has happened. Obviously me and the girls are a three – two of the girls have just had babies so there's been a lot of change in my life. I’ve met someone, fallen in love, and all of that soppy stuff, so – yeah! It definitely feels like, more than ever, a lot has been happening all at once. But it’s so exciting and as we’ve said before, lockdown gave everyone a chance to reflect and think about their priorities and think about things they really want to focus on. I’ve come out of that experience with even more of a drive and more of an ambition to achieve all of the things that I want to achieve and be there more for my family and friends – and obviously go out more and wear more makeup! 'Cos I’ve spent a year and a half in the flat with nothing on and lounging around so it has been nice to start glamming up again. The other girls are loving being new mums, honestly they’ve taken to it so well. I always knew they’d be great mams, I went to see Leigh last week and met the twins who are so beautiful, they just slept the whole time – but you know what, it was so weird because all I’ve ever known is being round the girls and it being us and just us. And for the first time it's actually dawning on us that they’ve had children – actually seeing them there in front of us, like they’re real; it wasn’t a prop. I feel like because of all the music videos we’ve been doing with them pregnant, I don’t know why but in my head I kind of just didn’t think it was real or like – every time we’d been doing a music video we’d base it around their pregnancies, so every character we’d play in a music video would revolve around them being pregnant as well so it was almost like a fun little act that we were doing. So seeing Leigh and seeing the babies was like, “Oh, they’re here and they’re perfect and you’re a mum now and you’ve got to do this.” But I’m so proud of them and they smashed the pregnancies. They were absolute Queens, working hard – and they had each other which I suppose really helped them. It’s amazing. I am hoping to see Perrie soon and be the best Auntie I can be. I’ve never thought about comparing myself - it’s not me, it’s everybody else. It’s other people around me that try and put that pressure on me, I don’t know if being in a group dynamic has may be meant that I’ve got used to comparison and so it doesn’t effect me as much. Everyone’s in different places in their life and sometimes it’s assumed that I should feel, ‘cos I’m a woman, that I’m behind and I should feel a certain type of way that I’m not at that point in my life yet… But I’m so unbelievably proud of where I am at in my life and what I’ve achieved and my career. I’ve got an amazing boyfriend, I’ve got amazing friends and family, and I’m a businesswoman –why would I feel left out?! But it's interesting… like every interview it gets asked like “Are you feeling broody?”, and I’m like “No, hun! Are you?! Do you want me to ask you if you want to have a child or children?". Like, it’s quite a personal question, isn’t it? So it has felt a bit invasive at times… I think that everyone moves at different paces and I’m happy with mine. If my beauty cabinet was on fire, there are three things I'd save. Obviously I’m going to say the palette because I’ve put far too much work into that to let it burn, so that has got to come with us. I feel so proud looking at it – when I see Jade on top of it and I open it and it’s all shades that I’ve named and it’s all colours that I like – there’s no way I’m letting that go up in flames. So that’s coming with us. Then I’d say maybe just a classic nude lip, I’d have to grab. Because I feel like if you’re having a no makeup day, as long as you’ve got a bit of a nude lip on and nothing else, you’re sorted – do you know what I mean? And then finally… third product… may be a brow brush? Which I never thought I’d say but brows are so big now aren’t they, hun? They’re a priority. As long as they’re brushed up and they’re all in the right place then we’re good. X-Factor Jade would've saved three very different makeup products. A fuchsia pink lip, a massive lash… and, what else… brows just weren’t a thing to me then it’s so wild to me like the change in trends and stuff… maybe a lip gloss or something? But I mean, back then, especially for us girls, I think makeup artists got so excited at the thought of a new girl band that anything went. It was just throw anything on our faces and hope for the best at that point. It was a hot mess. But it was also of that time, like pop stars were really doing the most – like you had Katy Perry… it was all really colourful wasn’t it? Nicki Minaj… all these artists who were doing like really bright bold makeup looks and the eye colour would be very different to the lip… and y’know we’d have feathers on our eyelashes. It really was throwing the kitchen sink in so we’ve definitely learnt to mellow down over the years for sure. In ten years time, I’d like to still be performing with the girls. We’ll be doing something together. I’ll have built more of my empire. Maybe more beauty things and more other things I’m into like art and my businesses up North. As it stands, every year I get older I get more confident in myself so I’d like to imagine in ten years time I’ll be at a place where literally no body is going to affect me when it comes to self-love. And maybe I’d be helping to support another girl band by that point as well. It’s getting a bit lonely out here. We need more. So, yeah – I’ll be helping flying the flag there, I suppose.

#jade thirlwall #jt: beauty bay #article #4oct21

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ladykissingfish · 3 years

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Highschool with the Akatsuki

*Modern-Day*

Hidan

Behavioral nightmare. Fidgets, drops things, disrupts others’ work, talks during study/quiet times. Has to be constantly reprimanded for his inappropriate jokes and foul language. Sent to the principal‘s office so much that he was asked his opinion when the man was choosing new carpeting. Most of his friends are exactly like him, so if they’re in the same class they have to be seated clear across the room from each other. Can be a good student when he TRIES; but doesn’t see the point in trying, so will just barely be passing his classes with C’s and D’s. Skinny jeans and Vans with open flannel shirts over white or black tank. Wears a necklace with strange symbol on it, when asked what it represents he’ll say “my religion” but won’t elaborate. In the bathroom between every class grabbing “a quick smoke”. Dyed his hair silver as a joke in the 6th grade, has kept it that way ever since.

Kakuzu

As serious as a heart attack, no matter the situation. Incredibly tall and with a stern face; is almost always mistaken for being the teacher by new kids. Has an impressive collection of “old-man” sweaters. The stingiest guy alive with a buck; will actually make you hand-write him an IOU slip over borrowing 50 cents for the vending machine. Decent in all subjects but a star in Economics. Has one or two “friends” but doesn’t seem particularly close to them (or anyone else for that matter). Doesn’t talk a lot in class but when he does it’s usually because he disagrees with a point the teacher is making, and he isn’t afraid to debate him or her until he’s acknowledged as being correct.

Deidara

Deidara is one of those people who needs constant stimulation to keep him engaged in whatever’s going on. Since school tends to involve a lot of tedious repetition, paying attention in class isn’t something he’s the best at. Most likely to “finish up” his homework assignments five minutes before class starts. Grades tend to fall in the B-/C+ range. The type to always pick a seat that’s in the back of the room and/or closest to the window. Has a sketchbook that he carries around with him wherever he goes. Style consists of ripped jeans over fishnets, combat boots, fingerless gloves, band t-shirts and oversized pullover hoodies. Super-long hair tied back in ponytail. One of the first (and only) people at school to *openly* identify as pansexual; gets asked out a lot but always declines everyone because dating “would interfere with his artistic process”. Doesn’t speak a lot in class unless the topic particularly interests him, in which case he will ramble on and on until politely stopped by the teacher. His table at lunch will always be full because others are drawn to his energy and charisma. The art room is his home away from home; on a first-name basis with the instructor.

Sasori

The smart, quiet kid. Tends to keep to himself and always appears to be in his own little world. Doesn’t ever seem to be paying attention in class, but when the teacher randomly calls on him, he has the right answer every single time. Always gets A’s but will get upset over a “low A” (in the 90-94% range). A good budgeter of time and will usually manage to get most of his homework done at lunch or during study hall. Has a (small) core group of friends and not looking to add to it anytime soon. Wears a lot of khakis and long-sleeved shirts or sweaters (even in the summer). Because of his organizational skills, technical mind, and proficiency in using tools, he excels in woodshop; often informally used by the teacher as an “assistant” to help other students with their projects. Absolutely hates gym (his small stature and delicate nature make physical exertion difficult for him); this will be the only class he doesn’t try for an A in, as he skips it as often as possible.

Itachi

Dear God, the girls ((and quite a few guys)) are crazy over this boy. Is thought of as being brooding, and mysterious ... and gut-wrenchingly handsome. Very quiet, rarely speaks in class, but when he DOES, it’s always something deep and profound. Top student grade-wise. Long dark hair and soulful eyes. Style is all black, distressed baggy pants with chains, long-sleeved band or anime shirts, boots, fishnet gloves, heavy silver bracelets and rings. Is polite to everyone but only has a handful of actual friends. Submits poems and short stories anonymously to the school paper; always gets published. Is occasionally persuaded by his teachers to volunteer as a student tutor; line will be literally out the door from people seeking his “help”. Has friends in the drama club so will go to every single school play to be supportive, even if all friend did was lighting or scenery.

Kisame

Tall and athletic; captain of the swim team. Isn’t the most handsome guy but popular because of his personality. Not really the best student, but keeps his grades up enough to be able to keep playing sports. Sweatpants, Nikes, and Letterman’s jacket. The type to step in when he sees somebody getting bullied. Has a secret love for Orchestra music and likes to sit outside the band room when it’s members have rehearsals. Friends with/friendly to absolutely everybody. Will go through more than one tray at lunch. Shines the brightest during gym class. Also a surprisingly good cook; will voluntarily take Home Economics as an elective and be one of the best bakers in the class.

Obito

Known around school as “that one guy with the mask”. Was apparently in a bad accident as a child that left the side of his face heavily scarred; adopted the practice of wearing solid-color face masks to cover damage. Teachers are made aware of his situation so no one ever tries to make him take it off; although he will do so at lunch, at a table of his close friends. Smart and articulate, everyone turns to look at him when he speaks in class. Tall and moves quickly (and silently); nobody ever knows he’s there until he’s right behind them. Dark jeans, boots and will always wear a leather jacket or trench coat, even on ridiculously hot days. Doesn’t laugh a lot but when he does, the sound of it could make anyone fall in love. A big eater of sweets; will always have some kind of candy on him that he will quietly slip beneath the mask and eat during class. When caught by teacher, will claim he had low blood sugar, and because he’s a good student otherwise he won’t be questioned further on it. The type to, at the beginning of the school year, sign up for a ton of after-school clubs, stay in them for a week, decide they’re boring, and duck out.

Zetsu

Oddball kid who sits by himself and talks to himself more than seems normal. Teachers have learned early on not to call on him in class, because he’ll just sit there and give them a silent, intent stare until they move on to someone else. Surprisingly good grades despite never talking/participating. Wears cargo shorts, T-shirts and sandals with socks, no matter the weather. Always goes outside in-between class periods; sometimes misses class altogether just to nap under a tree with his face in the sun. Eventually founds and is “captain” of the school’s gardening club; not many members but the ones that do join are very environmentally conscious, modern-day “hippies”.

Pein

Legitimately has like, 9000 piercings. There’s not an inch of this guys face that doesn’t have a shiny silver stud in it. Red and black seem to be the only colors in his wardrobe; lots of button-up shirts and zip hoodies. Has a ridiculously deep voice and is always super-intense, even when just hanging out with friends. In group projects, he’s always very quickly designated as the Leader. In his group of friends, it’s clear he’s the Leader. Not the best grades but above-average. Spends a lot of time with the blue-haired girl; it’s always rumored that they’re dating although both parties have claimed to be “just friends”. A terrifyingly persuasive arguer; joins and becomes star of the debate team within a week. The type to ask a very deep, pointed question during class and change the entire course of the teacher’s lecture.

Konan

The type to have a lot of close male friends but almost zero female ones. Tends to be the “mom” amongst her group. Excellent student, always the top marks in her class. A lot of admirers but always politely turns down potential suitors. Some piercings but nothing very extravagant. The school used to have a very strict rule about dying one’s hair “wild colors”, but she dyed hers blue and led a successful protest regarding freedom of expression. Her favorite class is literature, especially when they get to the Greek Mythology and Shakespeare units. Does origami as a hobby; when bored in class will sit and tear up bits of paper or napkins and create gorgeous little flowers. Clean and organized in every aspect EXCEPT for her locker, which is a (legendary) jumbled and unholy catastrophe.

#the akatsuki #headcanon #high school #hidan #kakuzu #deidara #sasori #itachi #kisame #obito uchiha #zetsu #pein #konan

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thepriceofbeingaroseisloneliness · 4 years

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Toshiya Interview 「PHY」Vol.17 Translation 1/2

He talks about the negative parts in human beings that the world has no choice but to look straight at. Also, he talks about his own melancholy. “The places, the time, and the people I cherish are not eternal, rather, they can be destroyed in an instant…. that resignation…no…I wonder if there is an awakening about that”

Note before reading: This is the first part of Toshiya’s interview in 「PHY」Vol.17 released last 19th. This part covers half of the interview. You can already read the second part here. You can get the magazine at Cdjapan if you live out of Japan. Please buy and support it if you can. Feel free to correct me if you spot any mistake or any confusing parts. Links or credits to this post when the content is reposted or captured in other SNS is appreciated :) ----- It was the kind of interview that made me believe in them forever. DIR EN GREY's first digital single, 'Ochita koto no aru sora ', it’s a song like a warning bell that appeals to live without looking away from this restraining reality, as well as the desire to bet on a band of five members. Of course, there,the feelings of how each member feels about Corona are included there. In this solo interview with Toshiya (Bass), he talked about the melancholic feelings he is having facing the current situation of the world. In his own words, he feels sometimes hesitant to say his own thoughts, the conflict, the indecision, but at the same time, he revealed the reason why a strongly man like him felt the necessity to be in this band. Text by: Higuchi Yasuyuki Photos by: Sasahara Kiyoaki Hair&Make-up : Yamaguchi Atsushi “Putting their problems aside, we have lived mediocrely. Then, facing this situation, we are unable to compete. But that's the negative part that we have been facing for a long time” -The other day, I was allowed to hold an event at a certain place. T: Thank you. You were really helpful. -It's been a while since I witnessed the scene of the 5 of you reunited together. Your presence in the dressing room at that time, felt like a person who was really at home. T: What do you mean? (laughs) Well, I haven’t been meeting people. -It’s a time that it’s stimulating (meeting people)… T: It’s scary, isn’t it? If you get infected, you will affect those around you, moreover, if you get someone else infected…..you think about those things after all. -Staying all time at home made you feel depressed? T: Not really. Basically, because in the first place, my life is the same as when we are doing our underground activities. -The other members believed the same (laughs) T: So, it wasn’t depressing. These activities were rather normal or even plain. Well, if I had to say something that was different than usual…. thanks to having more time than usual (the single), it was completed very smoothly. -It seems like that. T: Originally, we were planning to record while touring but the postponement of the tour gave me some time and it was very smooth. -Are you always on a tough schedule? T: It’s already rough. And at the very end I always feel like I’m compressing everything so in that sense, it was every easy to do (the single) this time. -If you had made it between tours as planned, wouldn't the single have a different style?

T: There is a possibility. However, I don't think it would be completely different…. I don’t really know. -That's right. Personally, when I listened to this song, I thought about how you would perceive the current situation as a band that can’t see what lies ahead. It’s a song with a lot of power and energy, are you worried about the future of the band? T: I see. About what your personal thoughts…. I think this band will be fine as long as the members are living, like, the band will continue on as long as the members are alive. It might be an extreme reasoning but that's what I think myself. Regardless of the Corona and what will happen after it. -Because you don’t think that just because of this situation…. T: Yes. Because I think Dir en grey is consisted by these 5 people. Well, until now, I used to say it with words in interviews and so, but maybe recently I really came to think that. -It could be. T: In the past, being honest….when I was thinking about the band….of course I know I'm a person that would be in a band but I thought that there was no reason why it had to be these five people. -That way of thinking its not only limited to you, that’s a thing you think when you are young. T: It’s not only related to bands but also to human relationships. For example, let’s say that you insult someone on the internet. Of course, there might be a reason behind why that person got insulted but rather than insulting them, don’t say anything. You accumulate those things inside (the attacks/insults) and eventually that person will….like….* *He is is making a subtle reference to the recent news of Hana Kimura’s suicide after being harassed online. -There was this sad incident…. T: The places, the time, and the people I cherish are not eternal. A word that has no meaning at that time, the words of someone who doesn't understand the true meaning of what they are saying. With a single word that dances around with collective complicity, important things can be broken in a instant. That resignation…no… if you don’t have that awakening, that you don’t need to insult someone or do just as you please…. -Do you think you are the type of person that lets those things accumulate in yourself? T: How should it be? But I want to cherish where I am, I know that this position is only possible with these five people, so I sometimes I don’t express my thoughts, but it’s like that for all human beings, right? - When you started the band, you were more self-assertive but you had to change that in order to be able to continue in this band. T: That's right. After all, I'm basically a very selfish person (laughs), so I feel like I'm going to destroy the place I'm in if I'm a selfish person like I was in the past. Isn’t that scary? - You have that kind of trait rooted in yourself. T: When I was a kid, I was always selfish and selfish, for example, even if I played soccer with my friends, if I had the ball, I would go to the score goal myself. I didn’t pass it to anyone (laughs) -But team playing is an important thing in sports…. T: I had no spirit of cooperation. I was often told that by my parents. Like “As you are not cooperative, you’re better off doing things alone than doing it with others”. -And such a person has been in the same band for over 20 years (laughs) T: That's right. That's why I feel that the band has given me spirit of cooperation with others. If not, I would still be running to the score the goal with the ball (laughs). -But that kind of person is doing the bass in a band called Dir en grey, so I think it’s a perfect balance. T: Is that so? - The members in charge of bass and drums tend to be less self-assertive and more cooperative than vocals and guitars. I think that's probably because rhythm is related to the fundamental base of music and it’s created by the instrument that play it. T: In the past, that was the impression, right? About the bass. Like being a step back from everyone and playing silently. -But you are not that type of bassist. In the first place, each of you asserts themselves on stage. T: I agree. I mean, I've never though that "because I was the bassist I had to take a step back" (laughs) -That’s what DIR EN GREY is. I thought that it must be hard for the band to have a bassist with such a strong presence when I saw the current shooting. T: What it’s hard? -I meant that the individuality of each one of you collides violently. You can’t take pictures like these with 5 people, right? T: That's right. In a good way, it's also the band's mood. That's why I've been playing in this band with a mysterious sense of balance. I'm not going to take a step back, and while I have a desire to go forward, I'm also conscious of not going too far. “I feel that the band has given me spirit of cooperation with others. If not, I would still be running to the score the goal with the ball (laughs).” - You said that you have acquired that kind of balance in this band. T: That’s what I think. And that doesn’t apply just to me, but also to the other four members. Like, everyone is looking properly at others, not only themselves. It’s the same at lives, and of course what you want them to see it’s your playing but what I really want them to see the most is the sight of these five people standing there. That’s what the image of a cool band might be and on top of that, each of us can shine in their own way. - As I said earlier, I think you are really a strong person. And I think that's something that all the members of this band have in common. T: That might be true. - So, your personalities collide violently, and that friction is what creates your sound. However, on the other hand, there are some moments in which you have negative thoughts, or you are not confident in yourself. T: That's right. After all, I don't have self-confidence. - Especially in your case, I feel that you often make statements like that in interviews. T: Is that so?......mmmm…..I wonder why….but it’s like... I think that saying that kind of things doesn’t matter in some cases?.... -What do you mean with “it doesn’t matter”? T: Well, like they ask “are you confident?” and you are, but saying those things openly/loudly isn’t something that is bothering? I think it's only me who knows in what I am confident and in what aspects I am not. But then, do you know yourself well? If you ask me, I don’t know the answer at all. In short, you probably shouldn’t believe the words you are told. -You don’t believe in those words? T: Yes. Everything is a lie or a false image. Words, including lies and truths are mysterious. After all I believe it’s like that. Also, I think of myself as just a shallow/miserable person. Next part

#dir en grey #toshiya #phy vol 17 #phy magazine #translation #toshiyatranslations

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