Sai asks some more:
“It's nice to hear that you're sticking with the indie-roots for the most part, despite being considered part of Speed Disk. Is that a permanent thing, or will you guys be parting with the company once the one-man and the release of your final of the five singles? Or do you think that you'll stay with them and put out an album? (Are you guys planning an album?)"
That’s still up in the air. We’d like to continue if they’d like to take us on more.
Not sure about an album yet!
“My brother plays guitar for an American band and he says one of his biggest fears is getting his band well-known, signed to a label, and then losing all artistic integrity.”
That’s awesome, and I’m glad he’s thinking about that. I'd love to check them out!
Me, on the other hand… I’ve done a lot of work with other artists here in Japan, as well as foreign artists coming to Japan, and the more I look at it all, I’m never really sure what ‘losing artistic integrity’ really means, and if it doesn’t mean different things to different people. I do, however, think it’s admirable to be dedicated to that. I’m the kind of person who just plain doesn’t like financial situations being up in the air, so if something can make me money, I’m more willing to consider that than the overall integrity of the product. Then again, maybe I’m just a huge sell-out! :-P
“It's nice to hear that CP isn't having those kinds of problems.”
Well, being in a visual kei band means that you do have those kind of problems, even if they’re small. It’s pretty obvious that in order to be a huge-selling vk band you sort of have to sound and do things a certain way. One of them is in terms of song-writing. Some bands are lucky and can generate hits, or a nicely-sized following, with their own style, but some are tempted to appeal to the masses a bit more. I don’t see that much of a problem in that, as long as you make your standards and boundaries clear on both sides before inking a deal, I suppose.
Another lies in image. Bands started to look like more harmless hosts and toned down for a reason, and it pays to look relatively harmless. We must face facts: most big-selling modern vk is, essentially, pop idol-dom, just add guitars. I am not saying this pejoratively.
Our problem lies in the fact that we are often told, in both good and bad ways, that we do not sound like a visual kei band. As an exercise, we have tried writing vk-ish songs, and they still end up not sounding very vk to listeners. Those who pledge their allegiance to vk as a whole concept haven’t quite warmed up to us yet, and those who try to avoid the vk stigma probably haven’t given us a chance. It also limits the media you can appear in, at least at first.
“It's also nice that you guys are working closely with only a few people, rather than a lot. I would imagine that it makes the process a little easier, or at least more comfortable. Better to have a few people you know and are able to form connections with than having nameless faces.”
This I definitely agree with, you’re right. I’m much more comfortable knowing everybody’s name, or at least knowing that I’ve seen such-and-such a person before. :-P
“As for the recording-- it sounds like it was quite an experience. You think you'll ever do it again? Think you CAN do it again? Do you think you'll ever WANT to do it again?”
“Impressive that you guys didn't break down into sad piles of musician-goo by the end of that.”
I don’t think it ever occurred to us to take a break!
“Also, you got to play around with some of the songs? Which one did you have the most fun editing?”
My skills were more in the music theory department. Do these parts actually match up on record, or did they just feel good at the time and did we not think it through? My job was to do all synth parts, which means the strings in Canvas, the horns, piano, and organ in Ashland, and some of the various noises on the first two singles. (The beeps and boops in the main part of Canvas, however, was all Joe.)
I was also in charge of all vocal arrangements; that is, everything that was not a main vocal line or harmony part. Any sort of choir in the back chorus, though sung by Tenten, was arranged by me. I also wrote the female vocal parts. I also wrote all the English lyrics, though that should be apparent. Most of it was either based directly on lyrics Tenten gave me, or based abstractly on themes he discussed with me, or made up entirely. :-P
The background chorus arrangements were difficult because Harlot, Bellamy, and Memento Mori were written just like that. The rest were sort of added as we went along, which means they aren’t as artfully crafted to my ears as those others, though I really like the parts I wrote for both ladies, and I think the choruses in Irotoridori and Sakana turned out really nicely.
My mother is a conservatory-trained pianist and vocal teacher, so I’m hope she’s proud!
Friday, August 20, 2010
Sai asks some more:
Written by Elec at 5:15 PM