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aibanokokuhaku This band gives it all. That feeling like you're watching a variety program. The crazy parodies. But underneath their goofiness is a serious message. They've got 18 singles under their belt. It's been nearly 4 years since I've had the honor of interviewing this band. But even now, Kishidan holds a very serious place in my heart. And with 15 years under a major label, I have to ask, "What now?"
When we first entered a major label and began trying to decide, "What makes a successful album", that was hard. We had to think about every little detail, but we also had to make sure we liked the choices we made. Each album becomes the "soundtrack" of the tour that follows it, so we had to think of our albums that way. "How can we perform this song? What kind of reaction do we want?" When we started writing songs for this album, it had already been a while. In 2009 we had two days at Budokan, but it was announced really suddenly. We had already toured a lot, and we were worried about those days not sell out. We didn't want our core fanbase to not have enough time to prepare or gather up funds if they wanted to come, so that was the most difficult time so far on the label in regards to organization. It was a hot offer, to ask us to play at Budokan. But the feeling from the experience was a bit cold.
Did you tell them that directly?
Not quite like that, as I didn't want to tarnish our relationship. But I told them we need to be careful and consider the people who come to shows. Slowly, even us band-mates were getting a strange air from the situation. The atmosphere completely changed. If people can't come see you, who will buy your CDs? Being on a major label guarantees nothing.After that mess, we did do our usual "Kishidan Banpaku" and that felt a lot more right for us. One year, the label was thinking of dropping us, and wanted to cut things off right after Banpaku. Some executive didn't quite get us and thought we were just a comedy act. He couldn't understand why we were signed so long until he came to Banpaku that year for himself. After that event, we began thinking about "What is Kishidan?" And how to go back to a sound more similar to our early days without alienating younger fans as well. That is the balance we've been seeking. I think the best way to find the answer is to look at the bands we look up to. What worked for them, what didn't. Would it maybe work for us.... Things like that. So I guess our sound now is a bit like, "What? Is this current music?" If they compare it to our older music, maybe the fans won't find it shocking. However, we wanted to give strong lives. I think even just between the last 2 years, we have performed with 50 different groups, most of them being our senpai. We're still learning and growing thanks to them.
It seems like you're always putting your heart into your music, or at least showing your heart to those who care to listen to your band.
Well, more than just us, a band really is, in a way, everyone. It's identity is shaped by the management, the fans, the staff, senpais, kouhais, everyone.. Even though I've become some kind of "face" for the band, Kishidan is definitely not just me. I think whenever this band ends, it's going to be hard to let go. We were having a rough patch for a while, and I thought we'd go until we performed at Tokyo Dome and then consider a finish, but it didn't work that way. We're still here. We're not selling as many seats as we did 5-10 years ago, but we have a smaller core group that consistently comes to shows. We sell out medium-sized venues now instead of domes, and I'm OK with that. In 2001, when we first decided to aim for Tokyo Dome, we knew that meant we needed to be able to pull nearly 100,000 people, since Tokyo Dome requires you to at least be able to fill the dome for 2 days. You have to do 2 shows. Our goal was to hit that point in 3-5 years. We did it, we played there in late 2004, but when we got to that point, we didn't know what to do after. Of course we kept going, but these kinds of things inspired the song "Kenka Joutou!"
How has the label been when making your latest album, Furyohin?
Making this album was a bit tough. We did things one at time, like worked on only one song at a time. The lyrics were quite serious and I wrote it with a very "thank you" feeling. There's been so many ups and downs and times we've almost ended. This was another one. I thought, "This may or may not be the final release". In 2006, there was one time we stopped the band for a while. If I could go back, I'd be a better leader and try to keep things running smoothly. From here on out, I can only try harder. I hope we can continue for a long time.
When we first entered a major label and began trying to decide, "What makes a successful album", that was hard. We had to think about every little detail, but we also had to make sure we liked the choices we made. Each album becomes the "soundtrack" of the tour that follows it, so we had to think of our albums that way. "How can we perform this song? What kind of reaction do we want?" When we started writing songs for this album, it had already been a while. In 2009 we had two days at Budokan, but it was announced really suddenly. We had already toured a lot, and we were worried about those days not sell out. We didn't want our core fanbase to not have enough time to prepare or gather up funds if they wanted to come, so that was the most difficult time so far on the label in regards to organization. It was a hot offer, to ask us to play at Budokan. But the feeling from the experience was a bit cold.
Did you tell them that directly?
Not quite like that, as I didn't want to tarnish our relationship. But I told them we need to be careful and consider the people who come to shows. Slowly, even us band-mates were getting a strange air from the situation. The atmosphere completely changed. If people can't come see you, who will buy your CDs? Being on a major label guarantees nothing.After that mess, we did do our usual "Kishidan Banpaku" and that felt a lot more right for us. One year, the label was thinking of dropping us, and wanted to cut things off right after Banpaku. Some executive didn't quite get us and thought we were just a comedy act. He couldn't understand why we were signed so long until he came to Banpaku that year for himself. After that event, we began thinking about "What is Kishidan?" And how to go back to a sound more similar to our early days without alienating younger fans as well. That is the balance we've been seeking. I think the best way to find the answer is to look at the bands we look up to. What worked for them, what didn't. Would it maybe work for us.... Things like that. So I guess our sound now is a bit like, "What? Is this current music?" If they compare it to our older music, maybe the fans won't find it shocking. However, we wanted to give strong lives. I think even just between the last 2 years, we have performed with 50 different groups, most of them being our senpai. We're still learning and growing thanks to them.
It seems like you're always putting your heart into your music, or at least showing your heart to those who care to listen to your band.
Well, more than just us, a band really is, in a way, everyone. It's identity is shaped by the management, the fans, the staff, senpais, kouhais, everyone.. Even though I've become some kind of "face" for the band, Kishidan is definitely not just me. I think whenever this band ends, it's going to be hard to let go. We were having a rough patch for a while, and I thought we'd go until we performed at Tokyo Dome and then consider a finish, but it didn't work that way. We're still here. We're not selling as many seats as we did 5-10 years ago, but we have a smaller core group that consistently comes to shows. We sell out medium-sized venues now instead of domes, and I'm OK with that. In 2001, when we first decided to aim for Tokyo Dome, we knew that meant we needed to be able to pull nearly 100,000 people, since Tokyo Dome requires you to at least be able to fill the dome for 2 days. You have to do 2 shows. Our goal was to hit that point in 3-5 years. We did it, we played there in late 2004, but when we got to that point, we didn't know what to do after. Of course we kept going, but these kinds of things inspired the song "Kenka Joutou!"
How has the label been when making your latest album, Furyohin?
Making this album was a bit tough. We did things one at time, like worked on only one song at a time. The lyrics were quite serious and I wrote it with a very "thank you" feeling. There's been so many ups and downs and times we've almost ended. This was another one. I thought, "This may or may not be the final release". In 2006, there was one time we stopped the band for a while. If I could go back, I'd be a better leader and try to keep things running smoothly. From here on out, I can only try harder. I hope we can continue for a long time.
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Date: 2021-03-11 05:04 am (UTC)