INTERVISTE/ARTICOLI

EXCITE.CO.JP: LAST MOON INTERVIEW - Part 3

GACKT hasn't eaten white rice, brown rice, or pasta in 18 years

■GACKT／New Album 『LAST MOON』 Interview（3/4）

Because I’m the only one who can do it, a stage like this.
It costs money too.

――When you dubbed it the 「last」, even if temporarily, were there any new thoughts or ideas what surfaced?

GACKT：U~hm, honestly, no. The reason is because, on one hand, I think of everytime as 「the last」 anyway. Even until now, every time, once it ends the next thing will surface, and I’ll think 「let’s go for the next one」. But well, this time as expected… … there is that though. Of course, because I don’t want to lose to myself I’m maintaining myself physically, but while I’m doing that I usually think 「I want to go higher, I want to go higher」, and as expected it is tough. Especially so, with the level that “I” seek from the (band) members in my own live increasing as well, the members themselves are ageing right? When that happens, the gap between the reality and the members opens up. When I consider that, there are times when I think 「Hm… … is it cruel to be asking for something like that from the members?」. I even think, although I definitely strongly feel that I want to do this together with the members who I have always been with, if I keep asking for this, they will eventually break. In this sense, 「maybe this is, as expected, one of the points to take a pause?」. There’s no need of them to force themselves to come along anyway. When I thought of that, with the level that I’m seeking, I wondered how far can I myself go this time?. This time, I’ll judge myself calmly. If you’re asking 「Can I do that when I reach 50?」, I’ll even think 「That’s cruel… …」 anyway. In any case, this time, to make sure that I won’t regret it even if it’s the last one, I decided that I’ll do what I can so, in the end 「Let’s do the 『LAST VISUALIVE』」 is what came of it.

――Do you always do your training harder than usual?

GACKT：That’s right, I think you’ll understand if you have a look at Instagram though. Instead of saying more than usual, it’s more like I’ve basically never changed what I’ve always done in the past though. Because from the experience I’ve accumulated, I digest the information produced from there, and keep progressing forward by understanding it within myself. That is the reason why, I am able to get such a body. Everyone says 「Amazing!」 when they see only that moment but, it’s not that amazing. It’s just painful (laughs). Just by doing it because I’ve always done it, I still can’t guarantee how much longer can I keep doing this.

――I have the impression that you impose strict dietary restrictions on yourself. If I remember correctly, you don’t eat rice right?

GACKT：Yeah, I haven’t had rice for around 18 years.

――For that long! If it’s brown rice you’ll eat it right?

GACKT：I don’t. I don’t eat grains at all. In the past I still ate pasta at certain timings but, now I don’t. I can’t go for Italian cuisine at all… ...

――What are the staple foods for the current GACKT-san?

GACKT：Vegetables, meat, fish.

――Ah, so you eat meat?

GACKT：I eat that, definitely. When I eat meat, I don’t need to eat anything else (laughs)　I’m not a vegetarian. It’s just that I don’t eat more carbohydrates that I need to. If I don’t do that I can’t get a body like this. People who eat rice, eat the foods they like, eat desserts, and still can show 「My body’s super fit!」, they’re gifted. Well, now my schedule is so full that I don’t have time to sleep. Because I’m also doing other work. In all of that, whatever it is, I’m running towards the end. Even those involved in the music industry, those who are in bands, and of course the fans are all really looking forward to the 『LAST VISUALIVE～』. They wonder how my first “VISUALIVE” in 7 years will turn out. There are a whole lot of people who think 「I want to see it」. It’s something to be thankful for.

――I’m already looking forward to that.

GACKT：Well, because I’m the only one who can do it, a stage like this. It costs money too.

――You’re disregarding profitability?

GACKT：Yes, I’m ignoring it. If I don’t do that, I can’t just do it once in 7 years. I’ll die if I have to do something like this every year (laughs).

Source: excite.co.jp

Translation: GACKT ITALIA Team

Translation © GACKT ITALIA

by SaiKaiAngel

EXCITE.CO.JP: LAST MOON INTERVIEW - Part 2

What is GACKT's True Intention for Making This “VISUALIVE” the Last?

■GACKT／New Album『LAST MOON』Interview（2/4）

Also, I wonder if my role revolves around the side of supporting artistes who think 「I want to perform （the “VISUALIVE”）using this method of performance」... ...

――In track 7, 「Kugutsu no Gotoku」, it comes through with hard digital beats while the sounds incorporated are typically Japanese styled, this fusion was another unique one.

GACKT：That’s right. Anyway, musically I’m always conscious of Japanesque, and in me, I’ve always has the intention of wanting to establish the genre of Zipang rock since a long time ago. If you ask, will a piece of music become Zipang rock as long as traditional Japanese instruments are used? Actually, no it wouldn’t. Because rock is, in the first place, something that is born from stylistic beauty. What we call western music originated from Britain, and while using American and German rock, which was derived further derived from there, we created our own original rock culture which is what we call “Visual rock”. Among all of these, when I wondered 「What part am I capable of?」, I believe it was 2004, or 2005 that I first thought of creating what I call Japanesque, Zipang rock. From there I started researching and creating. But it was quite difficult. Like I said earlier, it’s not something that can be made just by using traditional Japanese instruments. That’s why, I kept thinking about how I can create something that once you listen to it, it can immediately make you think 「Ah, this was created by a Japanese」.

――Time devoted to research important in its own way to GACKT-san, isn’t it?

GACKT：There was a period like that. You can’t make use of it right after the moment you incorporate it. It has to be done after thorough study. Because it is difficult to achieve a balance on the whole.

――Do you feel that, Zipang rock is sought after in the world now, or that now’s the chance to show what it is?

GACKT：No, there’s none of that. Rather, if we’re talking about what is being sought after, right now, isn’t that more like K-POP? Not only with regards to music, but present-day Japan has a completely incorrect sense of Japan’s status among the other countries internationally, or overestimates itself too much… Indeed until a few years ago, there was a real recognition of the Japanese ethnicity, or Japanese-made products, or the culture as being the top in the world. But now, the only thing that people around the world can recognise as “Japan”, is Kyoto. Because the number of Japanese studying abroad, has shrunk considerably compared to back in 2000. In other words, Japanese aren’t found overseas already. We’re only left with those who went in the past. That’s why, the foreigners who are aged 45 and above will know about Japan but, among the foreigners in their 20s, or early 30s, save for a small group of people, the rest don’t know a thing about Japan. Right now I strongly feel a sense of crisis where I wonder 「Is it okay like this? Us, disappearing?」. Despite that, everyone is foraging in this shrinking rice bowl in Japan’s small market, and it really makes me question 「What’s the point?」.

――Japan’s international presence is in an extremely precarious position…… In all of that, GACKT-san is polishing up on Zipang rock, and for the 『LAST VISUALIVE～』, what kind of story will be spun, can you give us a hint?

GACKT：Leading towards this 『LAST VISUALIVE～』, is the story of『Yoshitsune Hiden』. That is something… … Originally, 『MOON SAGA』which draws on vampires, is a long fairy tale that continues until the year 2040 AD. This story dates back to 500 AD where the story starts. It was around 2002 when I started writing this story, and when I wondered 「How should I express this?」, I decided 「I’ll start from the very end of the story」 and so I started creating it with 『MOON CHILD』 (2003 movie, first draft and screenplay by GACKT. Starred GACKT himself, together with HYDE). From there, while dating back into the vampire story, I thought to express it in a live concert too… … and I continued to create that story. It was expressed and performed in the lives entitled Kagen no Tsuki and Jogen no Tsuki, and later on it in DIABOLOS as well. There were parts in between the stories that were not shown or missing as well but, when I wondered 「Where is the origin of it?」, the origin of the vampire was actually Japan, and from there, I started the story of the Oni (Japanese demon). That story about the Oni is actually, the tale of Yoshitsune. Then, the story of this Yoshitsune came in the form of 『Yoshitsune Hiden』, and it was first (expressed in) a stage play, with Chapters 1 and 2. And finally, this time, it has headed towards this 『LAST VISUALIVE～』.

――All of GACKT-san’s expression activities are linked and can be woven together, into one magnificent world right.

GACKT：That’s right. If you’re asking 「well, then is the 『LAST VISUALIVE』 (a story) about “Yoshitsune”?」, it is actually the opposite of that. Within the staging of the 『LAST VISUALIVE　Saigo no Tsuki -LAST MOON-』, the story of “Yoshitsune” is but one part of it. It wouldn’t be a stretch to say that “Yoshitsune” too is just one part (of a bigger story). I’ve been pursuing something known as a “VISUALIVE” since 2002, and I’ve been struggling to establish it. Music, film, performance, narrative… … I was searching for a method of “expression” to convey a story on stage through rock. Starting with the idea of looking for a method of “expressive performance” instead of just “expression”, I’ve gone through a lot of trial and error all the way. Then, through performing various lives, on the stage of 2009’s 『GACKT VISUALIVE ARENA TOUR 2009 REQUIEM ET REMINISCENCE II FINAL ～Chinkon to Saisei～』, I felt, that I was able to establish a “VISUALIVE”. But at that time, creating one took a lot of time. When I thought 「Exactly how many years will it take to create the next VISUALIVE?」, I felt that 「The next one might be the last」... … Because, you see, the previous “VISUALIVE” was in 2009, and this time its in 2016 right? 7 years has passed. If I create the next one, I’ll be 50. … … That’s hilarious (laughs).

――(Laughs).

GACKT：It’s like, 「Isn’t this pretty tough?」. That’s why this time, why I attached the name 『LAST　VISUALIVE』 to it, is because I honestly felt that probably, both mentally and physically, this could be the last one that I can do. Also, I wonder if my role revolves around the side of supporting artistes who think 「I want to perform （the “VISUALIVE”）using this method of performance」. I think about things like that.

――So, after establishing it, you’re also considering to have someone to inherit this.

GACKT：That’s right. Well, isn’t it fine as long as it’s done by people who want to do it? … … It’s not like I want someone to do the impossible anyway.

――Are there juniors who are raising their hands and saying 「I’ll do it!」?

GACKT：There are but, there’s also the question of 「Are you capable of it?」 (laughs). Among the kids who are overflowing with talent, I want to support the kids who make me wonder 「Ah, if it’s this kid maybe it’s possible?」. … … I can’t continuously run down a path where I can’t even see a goal. Because I’m the type to run at full speed. If the goal is not defined, I can’t run at full speed in that direction. Because it can’t last forever. That’s why, there is a need for me to set “LAST” once as a goal. From there, after that, I’ll think about it after it ends. I don’t even know when I’ll live until anyway. In any case, I’ll just run to wherever I can get to. So, I’ll run first then think about the next thing, something like that.

――Since GACKT-san is young, even when you reach 50, you’ll definitely be beautiful and tough… that’s the kind of feeling I get.

GACKT：No no no. Look here, stop that. Really (laughs).

Source: excite.co.jp

Translation: GACKT ITALIA Team

Translation © GACKT ITALIA

by SaiKaiAngel

EXCITE.CO.JP: LAST MOON INTERVIEW - Part 1

■GACKT／New Album『LAST MOON』Interview（1/4）

「Both mentally and physically, this is the last VISUALIVE」

On April 27 (Wed), GACKT’s first original album in 7 years,『LAST MOON』will be released. While it includes selected singles released after『Setsugekka -The end of silence-/斬～ZAN～』(2009), it also includes the latest single「ARROW」. The emphasis of this album is that it is the set of expressionist performance of GACKT’s『GACKT WORLD TOUR 2016 LAST VISUALIVE　Saigo no Tsuki ‐LAST MOON‐』(in the midst of a nationwide tour since March 19), his newest version of the VISUALIVE, which is the stage work built from his unique expressive stlye. In the summer of 2015 when we were doing an interview about『ARROW』, GACKT revealed that for the tour, he was creating songs which blend traditional Japanese poetry with rock. Back then, he let us listen to a fragment of beautiful music on PC, which was「Hana mo Chiyu」, the latest version of Zipang rock that has come into fruition in this work. This interview was carried out when he was extremely busy, with the album still unfinished and on the eve of the start of『GACKT WORLD TOUR 2016 LAST VISUALIVE Saigo no Tsuki -LAST MOON-』. Again, we asked about the meaning behind mentioning the word “LAST (saigo)”, and in this work, we explore even deeper into the story behind the birth of GACKT world.

By using traditional Japanese poetry I can use odd rhythms naturally, which turned out to be advantageous to me.

――Firstly, how’s your health recently?

GACKT：Around 2 weeks ago (※interview was conducted in late February) I fell sick, and it was a little tough then. Somehow I’ve been resurrected now. I’ve been building my body for the tour, and I’ve been chasing after a variety of things, so mentally I’m suffering a lot (laughs).

――(Laughs). During the interview covering your latest single『ARROW』, there was a song with an irregular beat that you were making which incorporated traditional Japanese poetry mixed with modern phrases. Is the completed of it the second song in your album,「Hana mo Chiyu」?

GACKT：That’s right. In actuality there are others as well but, because I’d be doing too much of that in the concert, I cut the songs.

――Just to reconfirm the basic understanding, the new songs which you planned to record were songs that you created with the 『LAST VISUALIVE』envisioned right?

GACKT：That’s right. Because the songs were made with the live in mind, songs that make me think 「it can’t be performed during the live」, (even if it’s already made) I probably won’t even let it be shown. If I performed all the songs it would last 4 hours. I want to finish it in 3 hours. I thought「around 2 and a half hours」as a goal but, in the present situation, no matter how you look at it, I I can’t help but think「This, can’t be finished in 2 and a half hours… ...」(laughs).

――But, even if it’s around 3 hours long I’d still want to watch it… ...

GACKT：No, if you’re performing its tiring y’know (laughs).

――I apologise for my selfish words (laughs). Listening to it, it was impressive how naturally the irregular rhythm is incorporated in the song.

GACKT：Basically, the 4/4 time is the main (time signature in rock). For British and Americans, they don’t like having tempos and rhythms like 6/8 or 7/4 or 5/4 time in rock music. The reason why is because they aren’t good with odd-time signatures. But, I originally have my roots in classical music and am familiar with progressive music, so I really like those beats. But, I don’t have the thought of 「wanting to create beats that cannot be understood」 at all. As expected, wanting to 「create something melodic」is a big part of me. However, I recently came to understand that while contemporary music feels better expressed with a 4/4 beat or 8/8 beat, for traditional Japanese poetry, it is more interesting to approach it with 7/4 or 5/4 beats instead. That is probably, due to the arrangement of the words.

――"Hanakahoru kimi nara de　Dare ni ka misenu teru tsuki zo" is broken into 5, 5, 7, then 5 syllables, and is overlapped with a beautiful rhythm.

GACKT：Yes. Just reading it alone is interesting as well, it’s really beautiful. By using traditional Japanese poetry I can use odd rhythms naturally, which turned out to be advantageous to me, and by mixing it with contemporary poetry after that, then cleverly transitioning around, it makes me think 「Ah, this is fun」. Instead of doing it with the intent of wanting to incorporate things in, it just happened naturally though.

――The fusion of traditional Japanese poetry with rock is an invention of GACKT-san’s right. Considering that foreign artistes will, of course, find it difficult to do.

GACKT：Its quite hard to make use of traditional Japanese poetry. For me, I enjoy literature like these, and I also like stuff from this era. Although, in other words, I think that it would be nice if everyone could naturally become interested in things like the aesthetics of Japanese poetry, but it’s not something I’d really want to impose on others though.

――I think there’s an educational property of it that can be aimed at youths but, is that not true?

GACKT：It’s not a cram school so, there’s none of that. If they can naturally take it in that would be good. If I wrote everything in traditional Japanese poetry, the meaning of it will be lost on present-day people. I offer it at a level where Japanese poetry is included yet it makes people wonder 「what is the meaning behind this poetry?」.

Source: excite.co.jp

Translation: GACKT ITALIA Team

Translation © GACKT ITALIA

by SaiKaiAngel