U-TA TALKS
-A Compilation of the Secret Stories of B-T-
Regarding [SEXY STREAM LINER/ ONE LIFE, ONE DEATH/Kyokutou I LOVE YOU]
SEXY STREAM LINER-10th album, released December 10, 1997. ONE LIFE, ONE DEATH- 11th album, released September 20th, 2000. Kyokutou I LOVE YOU-12th album, released March 6th, 2002.
Translation: Lola
We're starting from [SEXY STREAM LINER] today so what are some of your memories about recording that album?
First off, that was the time we had changed labels right. As far as we were concerned, we had been with Victor long enough. We were eager to try something new with another company.
Since leaving Victor, the work environment must have changed, what was that like at that time...?
Yeah, well the new company had a different approach of course. And we understood of course that not all the people who run the companies are the same. So the atmosphere was completely different.
So after leaving Victor, you guys composed new songs right?
Yeah, our way of working was the same as always. But because we had changed companies, we had to think about that.
And how did that affect you Yuuta-san?
I was surprisingly apprehensive about it all. I wondered if we'd able to work as we had done up till now. You know they had their way when it came to recording and we had ours. So we wondered what we could and couldn't do. It was like... will this really be ok?
So how did it go actually in the end?
We talked to the company people about it and they said they would do it the way we were used to.
Do you have any particular memories you'd like to share about the recording of [SEXY STREAM LINER]?
Yeah...what I remember most...certainly has to be the view from the boarding house. It was amazing, there was the desk, and right opposite it was Mt. Fuji through the window *smiles*. It was so perfect. It really was incredible you know.
How wonderful to be able to record while having such a superb view!
I feel like...we had good songs from the onset that time you know...and since there was a great number of songs the plan from the beginning was to record while looking at Fuji-san.
Was it your first time recording in a boarding house?
No, we recorded in one for [darker than darkness] too....
Was there any song that you really got into while recording [SEXY~]?
I was really into [Kimi ga shin...dara]. At the time I was using my fretless bass right. I say I was using my fretless bass but you know, the frets had been taken off. But you could tell where they had been even though they had been removed. You could actually see the lines where the frets had been fairly well. Anyway, I only used that bass because the producer found its sound was perfect for that song...but there really were no frets you know. It was kinda like the upright bass I've been playing recently in that way. For instance now that I'm used to it, if I was asked to do it I'd be like sure! No problem. But back then I wasn't so I was busy trying to make the detailed phrases in the song sound less horrible. It was...quite a pain actually.... But Fuji-san was beautiful *smiles*.
Then you went on to do [ONE LIFE, ONE DEATH] but that was after almost three years of break. So what were you doing in that period?
Mmm...lives and stuff.
And your label became BMG then.
Yeah, well the company we were with merged with BMG, it seemed like the easiest way to do things at the time.
The result was the company name changed to what it is now but was it better for you guys?
Yes. There was a good feeling when we were doing [ONE LIFE~], it felt like we were actually able to put forth what we had inside of us you know. I still remember now what it was like with the publicity people or was it the business people? Anyway, we were all in this auditorium and everyone was filing in bit by bit (within BMG there is a huge assembly hall like a university classroom) and all the company people were seated before us and we had to give a speech like, this is the direction we would like Buck-Tick to go in and we look forward to working with all of you. It was like we were introducing ourselves. Made me feel like it was our debut all over again.
How did the recording itself go?
Well there was this rumor going around *smiles* that there was a ghost in the studio. But the recording went well.
After the company merger, you released the single [GLAMOROUS] but how did you like the PV personally?
That was our actual studio you know.
Oh! That was your actual studio at the time? I thought it was just a set. Speaking of PVs, is there one which you like in particular Yuuta-san?
Hmm...of course I like [Aku no Hana]. It left a deep impression on me I guess...and not just because of what you see and that was something new for me. That was directed by Hayashi-san too. When I watched the PV for [Aku no Hana] I really felt it fit the atmosphere of the song. And it's the same for [GLAMOROUS] *smiles*.
Do you have any memories about the view while you were recording?
Of course, having a ghost in the studio *smiles*, is hard to forget.
*smiles*. So how was it working with BMG overall?
Ah yes, well I think they're a good record company. Everyone was happy with them but you know, they have their way of doing things too.
Everyone has their own way of doing things of course but don't you think that the environment of BMG suits Buck-Tick? Anyway, after that you released [Kyokutou I LOVE YOU], we're getting closer to recent works now.
Ah the recording of [Kyokutou~] was much the same you know...but it had the best PV *smiles*.
With the fire.
Yeah, we filmed it in one shot....
You did a fan club only live in your costumes from the PV right.
Right. You know it just happened that...that was the shortest time ever taken to film one of our PVs. But we can't always film everything in one shot like that.
How did the recording for [Kyokutou~] go?
I guess you could say I understood how things would go because by then I was used to it. There was none of that sort of pain and annoyance like in the old days.......
You're talking about how horrible the scheduling was back then.
Yeah, I mean it was even bad for the staff.
Do you recall any particular happenings or troubles that arose during the recording...?
Ahahah, trouble?! No. And as for incidents, no as well.
What about recollections about the tour? Like playing at NK hall?
I was deeply impressed by NK hall, yeah. The video wasn't directed by Hayashi-san but, ah, it was done half and half by the engineers of [Kyokutou~] Hiruma-san and Nanseki-san.
It's not very often there are two engineers for one album is there?
Right. That's what made it so interesting.
So we've covered three albums this time from the period between 1997~2002, five years.
Yup. Looking back on it again...that was a period of many changes for us...wasn't it.
Would say a final word about those five years?
Right, well...we were able to get a firm grip on things and that was a good feeling. I think it was a good time for us in a lot of ways.