[Cover Feature] KISAKI Special Interview

Matina Dissolves, Returning to Zero

──It seems that Matina eventually dissolved, right?

Yes, I was disheartened by my own inability to maintain long-lasting bands and questioned my aptitude as a leader, so I decided to start from scratch. I was somewhat intimidated by the idea of being in a band and even thought about quitting music. During this period, I fell ill and was hospitalized, which was a low point for me.
However, during my hospitalization, members of Vidoll expressed a strong desire to work with me, which led to the formation of UNDER CODE PRODUCTION. Despite living in Tokyo, they would visit me weekly in Osaka just to discuss this. Their determination made me agree.
Vidoll quickly gained popularity afterward. At that time, we were close with PS COMPANY, which led to a national coupling tour with the GazettE and Vidoll.

──That sounds incredibly luxurious!

Looking back, it was quite remarkable. The event was a huge success, and Vidoll’s popularity skyrocketed nationally. Later, members of Matina who had formed new bands came to me for guidance. I was pleased to see those I thought had left come back to me.

──It seems like people gather around you because of the things you’ve created and your personality. This seems to have led to your 30th Anniversary. But you were only in management at that time, right?

Yes, I was only in management, but I still had the desire to perform. That led to the formation of KISAKI PROJECT feat Jui. This project also started to be talked about and we even got an offer for our first international live performance in France. Surprisingly, my name was already somewhat known abroad. When we arrived, I was almost deified (laughs) and received VIP treatment. The event was a great success, drawing an audience of over 3000 people, making it a huge success.
Such experiences definitely reignite one’s passion, right?. It was around this time that I met JUN, the skilled guitarist from Phantasmagoria. JUN approached me saying, “KISAKI, let’s start a band together,” which led to the formation of Phantasmagoria. From our very first live show, we had an incredible turnout. The band’s activities went smoothly, making us one of the top three bands under UNDER CODE PRODUCTION.

──Did the live in France reignite your passion for bands?

That was part of it, but meeting JUN, the skilled guitarist from Phantasmagoria, was also a significant factor. He was an excellent guitarist, and the songs he created were cool. I compose music by myself, but I have always liked bands where the guitarist is the main composer, so I thought of JUN as the sound master of the band.

──How did you promote the band?

We focused on creating buzz and visibility. For Phantasmagoria, we included CDs as supplements in the SHOXX magazine and paid considerable attention to concepts and costumes for the entire label. We wanted each band to express its individuality while maintaining an identifiable UNDER CODE PRODUCTION style. Thus, I conducted thorough meetings with all the bands. Having once dissolved a label, I prioritized the opinions of the members in all our decisions.
We also received an offer to do a television program in Osaka, where we could feature bands from my label as guests, and I happily agreed (laughs). We even secured sponsors and managed to organize live performances at places like Nagashima Spa Land and Wakayama Marina City. The audience enjoyed these varied venues. When considering what to do next, I thought about performing at the Osaka Central Public Hall, a nationally designated important cultural property. The director there told us we could perform as long as we didn’t damage anything, so we did a very careful yet intense live show (laughs).

──In continuing with Phantasmagoria, was there a particular song that marked a turning point?

At first, we didn’t think so, but in retrospect, the creation of “Kamiuta” was significant. It wasn’t specifically designed to be fun to perform live, but it ended up to go viral, so to speak. The trilogy we released – “Kousou Kyoku,” “Kyousou Kyoku,” and “Gensou Kyoku” – was also a turning point. We spent a lot of time discussing and creating these songs, which had their own color and depth. We paid great attention to the music videos too, as we didn’t want to just perform live but also create something that would endure over time. We aimed to make each song stand out, not just as part of an album, but as something people would want to listen to individually. We felt a real impact in terms of gaining new fans around the time we released this trilogy.

──Phantasmagoria as a band was significant for you, wasn’t it?

It was very important. When I hit rock bottom, I established UNDER CODE PRODUCTION and initially presented Phantasmagoria as the final band of KISAKI. That’s how committed I was, always serious about it.

──Phantasmagoria was supposed to debut with “Kamiuta,” right? How did you feel when you received the offer to major debut?

It felt like the right time had come. If we didn’t move to a major label soon, we would just be repeating the same patterns in the indie scene. We thought debuting majorly, with more extensive media promotion, was necessary for the band. I didn’t like the idea of being stagnant, so I was genuinely happy about the debut. It felt like a new beginning for us, a chance for everyone to spread their wings.

──You were managing UNDER CODE PRODUCTION while also being a player in Phantasmagoria. Did you focus more on being a player during this time?

When we were about to make major debut with Phantasmagoria, I made it clear that I would continue with UNDER CODE PRODUCTION. I intended to keep nurturing young talent and leading upcoming bands.

──So you were going to scale up further, weren’t you?

Yes, to grow larger. The major debut was meant to serve as a model for this. It’s something for the younger bands to aspire to.