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Violet UK: Destruction without creation.
With the release of his first original solo classical album in 12
years, "Eternal Melody II", and his live DVD, "Yoshiki Symphonic
Concert with Tokyo City Philharmonic Orchestra featuring Violet UK",
Yoshiki came back from L.A. Many TV broadcasts and news programs are
showing the opening ceremony of the Aichi World Expo where he will
appear as the conductor, so many of you might see his presence. But in
this edition we were granted a face-to-face interview with him for the
first time in along time. The main focus of the interview is of course
the recently announced release date for Violet UK's debut album.
The X DAY is September 22nd 2005-- That fated day, was the day that X
Japan's sudden disbandment was announced 8 years ago. He's planning
once again to begin a movement that defies time and space... and then
in the history of rock... bring back that "something" that stopped.
I: So have you been able to enjoy Spring in Japan?
Y: Not at all, I have a mountain of things that I must get done Well
actually I love Japanese food so in that sense I am enjoying myself.
For the moment my aim is to promote the classical album, but basically
I feel like I am preparing for the release of Violet UK's album.
I: So you feel like you are mainly concentrating on Violet UK even
though you have a lot of other things to do before hand, right?
Y: Yes, that's right. Especially this time, with the World Expo coming
up, everything up until now seems like it has had a classical sort of
atmosphere to it. However, as you know, as soon as that finishes there
is going to be a complete change.
I: Having said that, did you enjoy the World Expo?
Y: I think it has provided a great opportunity. I feel honored to
always receive these new challenges for such special occasions. Before,
I was sort of seen as a rock musician who can also perform classical
music. In reality, that's how I was perceived even when I played piano
for the 10th Anniversary of our Emperor as well. This time, its
classical musicians seeing me as having been requested to appear at
these occasions as well. I mean this in a good way however... That's
why in reality I spend so much time and effort in practicing and
composing before hand. It might sound strange me saying this myself,
but to me these aren't huge events.
I: I guess you can't get satisfaction from doing things half heartedly,
and you also can't fulfill requests or people's expectations.
Y: Exactly. But one thing I felt this time and in previous occasions
when I have done this sort of thing, is that it doesn't matter what
field the event is in, to me its all the same thing. I think of it all
as practice for me and even after many years under various classical
teachers, no matter what new knowledge I learn, the way I compose
songs never changes.
I: So in effect what you are saying is that beautiful melodies are not
born from knowledge?
Y: That's right. And, in regards to melodies, various teachers have
told me I possess something outstanding... However, on the contrary I
have built up a lot of self-confidence.
I: It's because in various situations such as the classical concert
and at the World Expo you have felt your melodies being spread out
into the audience isn't it? That also gives you self-confidence and
reassurance doesn't it.
Y: Yes, I agree. The fact that I have been fortunate enough to be
involved in all of these different scenes, and that I am still here
trying my best... I guess I am allowed to feel confidence in myself,
aren't I? After doing all the outrageous things I've done... and yet
I'm still here now...
I: This time you also participated in the opening round of the Rakuten
Eagles baseball team. There was also a rumor that you were going to
throw the opening pitch. In the end you appeared as a guest
presentator.
Y: Yes, after all I thought its better if the children were to throw
the opening ball. Even though I did sort of practice for the event I'm
friends with the president of the Rakuten Eagles team, so we often
drink together. After that game we were up until about 5 a.m. in the
morning drinking together. When he bought the Kobe I went to the
opening game as well! Then when I asked him, "So, what's next for you?"
he said "How about if I tried tennis?"
I: If you include those opening games it looks like Yoshiki is
becoming a person who you can only see at ceremonies. But like this
time, if you are bringing a new product along with your stay here,
you'll certainly be able to hear the fans direct reaction. Don't you
think there's a difference in the mood this time?
Y: Yeh, it feels like I have am finally back to being an artist again
just like before... And I really feel that my work as an artist is
beginning again after all this time But, only this time with the
classical album, I released it is to sort of feel in a blank. Its not
as if I was trying to create something, its just that I happened to
build up a collection of those type of songs and that's why this
release has taken on this form.
I: And don't you think its also something that fills in the blank
about Yoshiki's long journey and allows people to identify with your
past?
Y: Yes, I agree. On top of that, since I'm heading towards Violet UK
from now on, this is like "the calm before the storm"... well not
literally, but I think it has that feeling to it. Almost like an end
or full stop to something.
I: This time the classical album for the first time contains different
versions of some Violet UK tunes, such as "Unnamed Song" and "Red
Christmas" etc...
Y: Usually you wouldn't conceive of doing such a thing right?
I: That's right, didn't you feel a little bit uneasy about releasing
the classical versions and people having pre-conceived or miss-conceived
ideas about your intentions?
Y: No, not at all. Melody wise I think things are the same. So it
doesn't really matter which version gets released first. Maybe its
because I have so much faith in Violet UK. As you know, after such I
long time, my self-confidence has come back.
I: What are you talking about... "After such along time"?
Y: Yes, even during the days of X, first with "Blue Blood" and with "Jealousy",
in those days I had a lot of self-confidence. But, later on I felt as
if something was lacking. For example, with the album "Dahlia" I don't
think there was anything wrong with the degree of completion, but
“something” wasn't there. And it is that "something" that I've been
continually seeking, and now 10 years have passed by. In short, that "something"
is there, in Violet UK.
I: So, what exactly is that "something"?...
Y: How should I say it... Well after doing music for a long time
everyone asks themselves "why did I start this in the first place?",
or... they kind of forget what it was that they thought about music
when they were a child... you follow?
I: In short, their initial intentions?
Y: Yes. Like when you first think "Ahh, rock is so cool!" and the
first time you hear the guitar, or the moment you play the drums,
there is this feeling isn't there. In real terms, it is like there's
something totally outrageous, something radical. And I think for that
individual person and for listeners as well, every single sound in
that moment should be encompass that shocking feeling.
I: I see. Something that you can feel in both "Blue Blood" and "Jealousy",
something that doesn't exist in "Dahlia". When I think about what you
just said, "Dahlia" comes across as a kind of collection of singles,
doesn't it? And I thought, maybe that's why there is a gap in the
degree of totality between those albums... Do you agree?
Y: There's that aspect as well. And also I think there's the fact that
there was no longer a feeling of rebellion. That feeling of going
against something...
I: Well, one might say that the keyword for the former X was "no
rival", don't you think? If you think about that now, I believe that
without authority your immense self-confidence in a way created that
phrase. Then couldn't you say that you felt you needed a sense of
authority?
Y: Sure. On top of that, at the time when we released "Dahlia" we had
already been completely accepted by everyone. So then, we sort of lost
something to fight against. Also, I think we were already consciously
heading towards the worldwide market when we released "Dahlia". But,
at that time we couldn't see the world we wanted to see in a sense.
There was simply a huge world in front of us, and we didn't know how
we should approach it. Yeh... So that's why I think "Dahlia" lacked
excitement.
I: A feeling of excitement/ferocity? That doesn't exist in your
classical style of music, does it? On that side of things, a certain
side of you is left behind, and now you are returning to your true
self... Wouldn't you say that in regards to this aspect your thirst
has also grown stronger?
Y: That's probably true also. But even in my classical works, some
songs, for example "Without You", which is a song I wrote for hide, I
think there is that sense of ferocity. Also, in relation to Violet UK,
the thing I paid most attention to during recording etc... were
elements like ferocity and venom. "Beauty" is something that is
naturally there in the melody.
I: In other words, to create "beauty" it didn't take as much effort
since its something that you are already expert at?
Y: Yes, that's what I thought. Therefore, you might say I was almost
seeking a sense of danger or new ground.
I: You can certainly feel venom in both "Unnamed Song" and in "Red
Christmas".
Y: Exactly. I guess those two are pretty close to the original
arrangements. But, while I was composing them I was completely
absorbed in Beethoven's "Moonlight Sonata". Although they are both
ballads, they are somewhat different to songs I've composed up until
now. I guess if I try to explain these ballads, it kind of felt like I
was trying to take a Radio Head style approach.
I: In short, VIOLET UK's music has both "beauty" and "venom", and to
leave one of these elements out would mean that you wouldn't be able
to complete it, right?
Y: Yes, that's right. Violet UK's 1st album contains 2 ballads.
Although, both songs are calm and beautiful, they also make your blood
boil with excitement.
I: So what stage is the album in at the moment? According to rumors
you are now making 2 albums at the same time...
Y: Can you wait just one second please... (Yoshiki disappeared into
another room and brought back with him 1 disc from the first album,
including a list of song names). At the moment this is how it looks.
This is the 1st album, but I may still change the order of the songs a
bit.
I: I feel like running off with it! Hahahha
Y: Hahaha. Some of the songs are still only in demo form and others
I'll be editing further, but its nearly 100% completed now. The first
track "Sonnet 155" is a kind of intro song. Shakespeare wrote 154
sonnets before he died. So, this is like the next sonnet.
I: "Belladonna", "Angel", "Fetish", "Sex & Religion"... The song
titles in the list all contain a sort of symbolism that stimulates
one's imagination, don't they?
Y: Just from looking at the song titles you can see it that has a
really heavy feel to it, can't you? Well depending on the song some of
them are still tentative titles though...
I: Is "Blind Dance" going to be in this album?
Y: I actually got rid of that song after the DVD. "Blind Dance" is not
planned to be part of the 2nd album either. The 2nd album is actually
at approximately the same stage as this album in fact]
I: Wow, you really were making two albums at the same time weren't you!
Y: That's about right. But in regards to the 3rd album I am still a
bit unsure about it...
I: So simply put, you were able to progress with 2 albums at the same
time because you have too many songs?
Y: No, its because I realized that if I don't make about 2 albums then
I wont be able to express everything that I want to. There really is a
wide range. Of course there are elements of rock and classical music,
but there are also elements hip hop etc... Basically, there's a wide
variety of music in there. Image wise its kind of like Pink Floyd
style, or something close to that. But the music is much heavier.
I: Musically speaking its different but its similar in versatility,
right? Making something that has so much depth yet so much consistency
at its core into an album must have been a difficult task. The fact
that there is a consistency amongst such a wide variety of music is
the very thing that makes it full of wildness and venom, isn't it?
Y: That's right... Do you want to listen to some of it? Its only and
introduction but if you'll turn off your tape recorder for me.
I: Ok! I'm turning it off!
[After this introduction everything suddenly falls in chaos]
I: Its kind of like a movie in a way, isn't it?
Y: Yeh, from here its like something is about to start. The song after
this is pretty heavy...
I: Musically, I felt that one of the main features is the use of noise.
Y: There are images that artist Salvadour Dali painted when he came to
American and began his new life in Hollywood. The images are like when
a child being is born. So yeh, in terms of imagery... I definitely
agree. Here in this part its like he himself is born again once more.
Well, it feels like that kind of experience comes out in the lyrics.
I: I see. Well, just from listening to what you just said I can tell
that the content is very versatile. However, with this level of detail
and all these ideas of yours that built up over time I guess its only
natural that what you wanted to do changed a number times?
Y: Yep, it changed a lot. But, after going round and round... I've
already come full circle.
I: You mean you've comeback to the start again?
Y: Yeh, originally I wanted to mix beautiful melodies with noise and
make one style of music. From there, I got caught up in dance music,
or what you'd call trip-hop music. I was enthralled in things like
Tricky, Vortis Head and Massive Attack From that stream I went towards
trance, and then punk... And from there the loop came to a stop. After
that it became even more "different". This time I went into the Jazzy
stream... So that's how I went round and round... Finally, the
atmosphere of it all ended up with rock in the center and various
other genres on the outside.
I: I've been wondering for a while now which album would be released
first, Guns and Roses new album or yours?
Y: Hahahaha. You mean "Chinese Democracy" don't you?
I: Axel Rose has also spent a lot time and must have changed the
direction his music is taking, but in terms of being responsible for
time spent in regards to sound, honestly speaking, I'm sure Yoshiki
must have spent the most...
Y: I probably could have spent even more time than I have already, but
as you know I have now decided along the lines of releasing it as it
is now.
I: You mean, if you don't release it know, then it may never get
released?
Y: Hmm, I feel that I've spent enough time on the sound and
preparation. Especially with dance music etc... I'd have to make my
music completely unprecedented. Although I was chasing after that, I
think that too much time has already passed by.
I: If you were to reword that sentence, you might say that in those 10
years you spent you were almost waiting for that moment when the sound
became unprecedented, is that right?
Y: Yes. Of course its not only that. There were also times when I was
caught up in the moment and wondered to myself what direction should I
take.
I: Getting back to your approach to music... Your rebellious attitude
towards music is not like that of a teenager, but instead it is like
your inner battle to make the quality of music progress far beyond
what it is now, isn't it?
Y: That's right. But, I don't feel like I've change one bit. In a good
sense, after putting everything I had into X I moved to L.A. right...
Of course, I was still running my recording label and doing various
projects, but in those 10 years I spent my life completed separated
from Japan. In that sense... I don't think I've been able to grow too
much.
I: Your will to rebel was sort of frozen in ice or something?
Y: Yes, something like that. I think I spent the time in quite a
strange way. Like when I talk about concerts and promotion now, many
people say to me "You haven't aged one bit!", or, "Usually at this age
most people don't think like that". And most people automatically
think, "That's because you are unaware of what has taken place in
Japan since then". Here (in Japan) it seems as though things that are
normal to other people are not normal to me.
I: Are there times when you wonder how you would have ended up if you
stayed in Japan?
Y: Yes. If I'd stayed in Japan I probably would have ended up pursuing
the rock entertainment world. It might sound rude to other people, but
if I stayed I either would have ended up that way in order to maintain
record sales, or simply kept on in the Indies scene right until the
end.
I: Speaking of Indies, the UK in Violet UK is actually the short hand
for Underground Kingdom isn't it? I believe that shows your intent on
following underground music, however that doesn't mean that you aren't
thinking of the major music scene as well does it?
Y: Of course I am aware of the major scene. It's just that I believe
that as a movement everything must start from the underground, and
then cause an outbreak. And I want to achieve that one more time.
i: I see, so in order to create this movement you need to build a
kingdom in the underground scene, is that right?
Y: Yes, something like that.
I: Fundamentally speaking, Violet UK is progressing in a different
manner to what you would usually call a "band", isn't?
Y: There were times when it was a band. Originally, I was doing Violet
UK at the same time as X and at first there were 3 of us including the
former Japan Mic Kaan??? (not sure who YOSHIKI is referring to here?).
It was a little different then. As you know I sort of wandered in
various directions. Ultimately, during the days of X, I think I was
also spreading different styles of music. And because of this I
started thinking, "isn't it ok to have more than one vocalist?", after
all, the songs should be the main part and then you should be able
change vocalists accordingly. If you look at it from a different point
of view, then it can seem quite risky due to the fact that all of a
sudden the music could become something totally different. So that's
why I am thinking about what form it should take and how I should
approach lives in regards to the members etc...
I: How about having close to 100 members on the stage one after
another or something like that?
Y: It could well be like that, who knows But I think around 10 members
would be fine. Depending on the tour, even the day, or the song, I
could have different members appearing. So I think of it as being very
flexible. Of course, there is also the chance that some members will
become fixed members as well. Even when X was starting out I wasn't
sure if the original members were going to be permanent or not. I
think its just that while we were trying things we connected and
bonded musically. So without deciding things beforehand I should be
able to change it anytime and in anyway really. Anyway, things have
already probably changed 50% at least since I started the project, so
I think its fine not to set things in stone.
I: In regards to what you said about having the same destiny and
sharing a link, I guess its kind of dull if you end up getting tied up
with preconceived ideas.
Y: Yeh. It can end up like that if you have everything already decided
in your head. I think the most beautiful way is if you can grow strong
naturally.
I: In effect you can't express everything you are seeking to if you
were to form a normal band, right?
Y: Well for the time being anyway. But, it also has something to do
with the fact that up until now I've worked as a band and so I am kind
of going against all that as well. There's also times when I feel like
suddenly trying to create a rock band out of it as well. One day there
might be a 5 fixed member Violet UK rock concert, and the next day
there could just be music playing in some museum or something like
that. I now think that having things like "This area is brought to you
by Violet UK" are possible as well.
I: In short, you don't want to limit the way we think?
Y: Yes, exactly.
I: Yoshiki, in terms of musical direction at the moment, where are you
heading for?
Y: I think mostly towards noise. I guess this is also rebelling in
some way. This is true of all generations, but I think that pop music
has the biggest following, don't you? I think that this type of
friendly music is popular worldwide. I think that is fine, I just
don't like the fact that more of the opposite type of music doesn't
exist. I too listen to pop music and I do like it, its just that right
now I want the opposite. I want the complete opposite of pop to have a
huge presence.
I: On the flip side, if noise was most popular, then you might have
been seeking pop music?
Y: Maybe that's also true. I guess after all I'm a pretty strange
person, hehe.
I: I think that X was a role model for children. It was like a reason
for them to take up an instrument, or the reason why they wanted to
start a band. I personally think that the only sin of your long
silence Yoshiki, has been your absence from that role.
Y: I see... I think when I when I was in X I was doing completely
outrageous things. That "something" that I mentioned before, could
well be that outrageousness. In a sense I think that music and a
musical lifestyle are in some way like a textbook. But I think that X
really pointed out that its boring to do everything as it has been
done before. For example, right now I think that the emphasis, and
what is written in the unspoken rules, is to write music that will
sell, or make the right choices with recording companies. Now in the
Indies scene its all about whether you can sell records, isn't it.
Indies should really be outrageous, and it shouldn't not sell just
because its something outrageous. I think more people should try more
outrageous things. Basically, the main thing that I dislike is doing
things the way its set out in a textbook.
I: The person doing the most outrageous thing stands out from the
crowd, and in the end whatever that person does becomes a "movement"
in itself. If that happens, then you get a new textbook.
Y: That's true. That's why this time my motto is "destruction without
creation".
I: Oh, now I understand. I was going to ask what that slogan meant.
Y: Basically, after destroying everything, then that's where I finish.
After that, everyone else should create stuff, hehehe.
I: Completely scatter all the unnecessary things. That's truly
monstrous, hahaha!
Y: Hahaha. I'm gonna completely get rid of the current conservative/fixed
situation, and then leave it to the other people later on to create
something new... something like that at least.
I: To be able to do that amount of destruction means you must have
built up quite a lot of self-confidence, right?
Y: I think so. After destroying and completely changing everything, I
think I'll create a symphony in the classical scene. But I think first
my mission is to cause destruction.
I: It is very brave of you to say such things. I think that most
people at your age or who have so much experience in the rock industry,
would try something more conservative.
Y: Yeh. Well in my case I also have classical music as a sort of
escape route. Its kind of strange me saying this myself I actually
want to study more, and then form my own symphony, but I think of that
as something I continually work on all my life. Of course the same
goes for rock. If I end up like the Rolling Stones or Eric Clapton
then I think that will end up becoming by life's work. If I had
continued with X, then I think I probably would have ended up like
that as well. But, that totally fell to pieces. What's more, I am not
really seeking that with Violet UK. I think I'll just cause total
destruction, and then disappear off into the distance.
I: Do you mind if I ask you a little bit about that? How do you feel
about X Japan's past and history, etc, right now?
Y: It was my life. Of course, I still sometimes wonder what it would
be like if we continued on until now. Would we still be appearing on
TV?... etc. But like I said from before around the time "Dahlia" was
released we'd already started to become conservative.
I: In other words, it was "destruction without creation"?
Y: Yeh, I think so. When we started out we were defying everyone's
expectations. But when I think about it, in the end we made an album
that everyone would accept. And I think that's where we sort of became
conservative. So... this time with Violet UK I am going to show
everyone the true destruction that I was unable to create with X
Japan!
I: Is that a declaration of destruction even before you start anything?
Y: Hahaha. Well, it does feel like that actually.
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