Luna Sea rockers Sugizo and Inoran talk life at 25

From the Japan Times:

“Our 25th anniversary show was a celebration. I think everyone in the band feels the same way, but we only have feelings of gratitude. That’s what has been the biggest difference between then and now. Before, we wanted everyone to blindly follow us. I think Luna Sea is a very sadistic band — I mean, our fan club is called ‘Slave’! But we have a much more refined attitude now than we did in the ’90s.” - SUGIZO

“When we did the ‘shūmaku’ gig in 2000, we promised to each other that we would all go out into the world while we were in our 30s, absorb things and regroup. We did exactly that. That was the point from which we were able to start again.” - INORAN

“I feel there’s something very close in the Luna Sea sound to the guitar work and psychedelic feel of shoegaze bands. On songs such as ‘Wish,’ ‘Rosier,’ and ‘Storm,’ I tried really hard to replicate the sound by using effects, like playing fast with a wah-wah pedal, or using tape-echo and harmonizers. I couldn’t figure out how they did it, so I just made it into my own thing…. At the time, the word ‘shoegaze’ didn’t exist yet. I think young shoegaze bands now use the term with no hesitation, but I reckon Kevin Shields of My Bloody Valentine probably dislikes the term. It’s like ‘visual-kei,’ which is also a word that doesn’t describe the music. Behind that guitar noise there was house music, and I liked bands such as Primal Scream. So I think what I try to do with the Luna Sea sound comes from trying to express all that psychedelica, house and drug culture in a rock, guitar-band format.” - SUGIZO



In preparation of YOSHIKI’s upcoming Classical World Tour, JROCKNYC has been given the opportunity to interview YOSHIKI, and would like to know what YOU, our readers, would like to ask him. Make your questions good, interesting, and worthwhile! And remember the #1 rule of interviewing - avoid asking yes/no questions. The fate of this interview is in your hands! 

Please submit your questions below in the comments section and we will compile a list to ask YOSHIKI. 

Deadline to submit questions : April 18th.
 Will update this post at a later time. 

From an interview with Toshiya about the songwriting process for “Sustain the Untruth”:

Is the change in Shinya’s drumming approach that was brought about in that process very big?

Toshiya: Yes it’s big. There are good points to doing pre-production on a computer but there’s also a bad side to doing it all on it. There was often times when he couldn’t play in reality what he had created on the computer. This time he actually created the phrases while playing his drum kit which I thought was a dramatic change.


Read the interview here

Bookslut: I recently heard a younger author — about ten years younger than you — say on a panel that his work is inspired by the Internet.

WellsTower: What? Oh my god. The internet is a fucking curse! To write good fiction, you have to get into a tiny space that’s infinitely deep. That thing [the Internet] is so vast, yet has only a centimeter of depth. I actually have two desks; one with internet for magazine work, and a desk just for writing that’s completely offline. “Inspired by the internet…”