-- It also came with the title track ballad, but it is quite an adventure isn't it?
KISAKI: Inside of me there is nothing adventurous, though. Why originally a ballad? (laughs). I have this scene I returned to, a mental state where I return to the strait words of my lyrics.
-- How did everyone react?
REIYA: Well, they were a little surprised (laughs). But the nature of the message, I believe is easy to understand.
KANATA: I think it's what Mr.KISAKI want to convey mostly. It's very important to do this at the very beginning.
KISAKI: Because I hope that we can proudly announce: "This is LIN".
-- Is that so, I think your band is very quiet, isn't it?
KISAKI: From the perspective of the people who supported me and my music career, I don't think it's a question. In KISAKI PROJECT, there were only ballad, and coming up with a beautiful tone, or a subtle aspect, of a music portion of vanity took on a serious look.
-- Sure. The band's name was credited for composing the songs, but in what way were they made?
KISAKI: It was originally demonstrations and melodies, KANATA and I felt we had to extend the guitar.
KANATA: When I read the lyrics, I thought, "What would best fit this magnificent ballad?" While there is the commitment to complement the lyrics, even without lyrics, the feelings transmitted into images that work.
-- Even when you play a musical instrument, were you aware of it there?
MIZUKI: I read the lyrics, and although we know KISAKI's obsession, and I saw it defeated the purpose. But, I think the best ballads - ballads of the best thinking - are ones expressed with feeling, so I played it that way.
REIYA: Drums, too. KISAKI told me to play it with full emotion, and we made a very good take in the end.
KISAKI: Vibrant emotions won't be showed out if we play it detachedly. The explosive power of the chorus is very important to me. Especially for ballads, the strength is the most crucial part.
-- It is to say that the song has to convey a message?
RIKU: There are some difference between my translation of the lyrics and the original meaning of KISAKI. So we have to re-record the song for several times. KISAKI did faithfully reproduce works of this kind.
-- So there are a lot of requirements to the songs from KISAKI, aren't there?
KISAKI: There are a lot. Including the part that I want to show a new face of RIKU, I want to do it thoroughly. All what I can say, I did say (laughs). We try to reach as deep part of the songs as possible, and when we made it, we felt like crying and were satisfied completely.
-- There are 3 types in "Freedom".
KISAKI: Originally, we planned to have different songs. But it was changed. When we wrote this song, we intended to create an image of a party, and it worked out better than expected to finish. Every member wanted to write songs have high jinks, but there is a title came as RIKU said. I think the mutual understand is perfect in the end.
-- What was your impression on hearing the original song?
RIKU: I like listening to the rhythm changing suddenly in the middle, and I believe everyone will like it on the live. We wanted a song which can make everyone enjoy freely on the live. Then we put "freedom" into the title. And the lyrics is also somehow self-indulgent.
-- How were your instrument parts?
REIYA: My drumming was simple, but we had percussion, with which engaged KISAKI's base, and we were able to make a good effect.
-- Percussion is something I found it unexpected.
KISAKI: This is something learned from my three-year producing experience without doing band. And I felt very confident (laughs).
KANATA: At the beginning, KISAKI didn't think about the percussion, it's quite surprising. The rhythm changed in the middle is the same. As for the guitar solo, We played guitar with the image that we are talking with each other.
MIZUKI: KANATA came to my home, and we talked about the solo part. It feels like the breathing that day has turned into the guitar solo.
-- Type-B includes "Imaginary Lover", it is also an important song, right?
KISAKI: This is the concept of "LIN", as well as the concept of my musical career up till now. The change between being dynamic and being static is very important. That's why I said the drum should be emotional thoroughly as well.
REIYA: Anyway, we thought that we could play this song powerfully first.
KISAKI: Hearing from the back side is pretty intense already. The bass is quite wrapped in.
-- What about the guitar?
MIZUKI: I would say my movement is more strongly out of action. And even when we enter the quiet section, I have to remember the dynamic side as the same time.
-- The singing is the same?
RIKU: After finishing the first chorus, it becomes extremely difficult to calm down the feeling for the A melody. And we have to remember that we would stop at the climax part.
-- Even there is a lot of change, the singing is the center of the song, isn't it?
KISAKI: It's very close to the song but still aggressive.
-- Type-C includes "Fake Dance" and it is a song can heat up the live?
KISAKI: I wanted to write a song not that fierce but so bewitching that will make everyone move their body naturally, as well as the lyrics. With dazzling temptation and desire in the song, the image is set to be making people's heart dance. By synchronization, I've been quoting Bach, which makes the song more bewitching.
-- So the rhythm is more provocative?
REIYA: It sounds like jungle beat, and we have used a lot of drum sets. It will be feeling like the song is having a delight outline.
-- Overall the impression is quite light.
MIZUKI: Because we put the word "dance" in the song, I played with a dancing image. On the live, I kept having a mood to dance, even though I'm not good at it.
KISAKI: But I have been thinking about asking you dance. (laughs)
MIZUKI: I can dance if necessary (laughs).
KANATA: RIKU is very good at it.
KISAKI: I am thinking asking him to do something.
RIKU: I was dancing while reading the title and lyrics.
All: (laughs)
-- In this work, KISAKI has made a lot of the songs.
KISAKI: Until now, it is better to ask guitarist to write the songs, because it can improve the skills. In this band, we are using a more free style, and trying to put everyone's work together. And REIYA made us a very good song.
REIYA: It takes years to make one song, so please wait a little longer. (laughs)
-- The song "Foolish" included in the omnibus album NEO VOLTAGE is written by KANATA. It's likely to be a provocative song.
KISAKI: About this omnibus work, we talked about that the last song might be something guest-like and wanted to show the power of the band. So we picked a provocative song.
-- When I listen to the album, it's totally different with the single.
KISAKI: Listen to the Limited edition of "LIN", listen to the omnibus album and then listen to the single, you will find that they are all different. However, that is not all about the band image. We want to show a variety of the band and believe that will be very interesting.
-- The first live is finally imminent.
KISAKI: For the first live, I want to scratch out the belief that I can do it only once. And we will be OK even not being invited to such an event anymore. And in the future, we hope that we can become a new legend.
MIZUKI: Anyway, don't be defeated by the emotion. And then let's dance.
Credits to: SHOXX Magazine
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Finally an interview from Lin \''(*v*) So love it (>w<)
~ Haru ~
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