[Cover Feature] KISAKI Special Interview

Eternity and then “Hakai”

──After the second chapter of Rin ended, there was a gap until the 30th anniversary.

After Rin’s second chapter ended in March 2016, the band disbanded. In September of that year, I started receiving offers for individual session events and KISAKI PROJECT performances. I realized there were various ways to continue my music career, not just by forming a band. After stepping back from band activities, I began receiving composition requests but I sometimes found frustrating (laughs). However, when Hikari Shiina, a famous idol, requested me to compose a song, I realized this was another viable path for “KISAKI” to make an impact. Pikarin ( Hikari’s nickname ) was a fan of Phantasmagoria and even performed “Kamiuta” at her concerts. This led to more composition requests from the idol scene, band music provision, and production roles. I found it enjoyable to occasionally be in the spotlight while providing music.
When the pandemic hit, all activities were suspended, leaving me wondering what to do next. During this time, many live music clubs started crowdfunding projects. I would like to support them, I contributed a new song under the solo name KISAKI for the “SAVE THE HOLIDAY” project, which became the catalyst for my 30th-anniversary solo project. I also contributed songs to other crowdfunding projects like “Rokumeikan Legend” and so on. Even during the pandemic, I strived to help wherever I could.
In this context, as I couldn’t sing, I considered who to have as a vocalist and chose AKIRA from MIRAGE. During recording, we realized that MIRAGE would have its 25th anniversary in 2022, sparking the creation of a full album under MIRAGE’s name. Although it was a limited period, revival concerts in Tokyo and Osaka were more successful than anticipated.

──When I listened the album, I was excited its turned out great.

MIRAGE had released mini-albums before, but never a full album. So, we decided to release a full album with new songs, marking the start of the third phase, including a proper music video shoot.

──Even after leaving bands, KISAKI still remains a sought-after figure, influenced by those you’ve touched.

It’s like seeing the seeds I’ve sown bloom into flowers. Even if the flowers wither, they bloom again. Those who have continued are people I was destined to meet; we share commonalities, and even after parting ways, we can reunite and laugh about our youthful days.

──Probably the existence of KISAKI as a receptive platform allowed those who wished to return to actually come back.

That would be gratifying. I’m delighted if members from NEGA and MIRAGE who participated in my 30th-anniversary live felt the same. For this anniversary, I set a mission for myself to leave a tangible proof of my journey in Visual-Kei. as people know, I respect YOSHIKI and his presence and intensity I aspired to emulate. Watching YOSHIKI actively engage in various activities, I felt driven, thinking, “I owe my perseverance to him.” Before starting my project, I thought I would like to take a photo with YOSHIKI in his perfect mode to avoid making excuses and giving up on my mission.
If we just look at the text, it really seems quite fanatical, doesn’t it? (laughs)
I consulted various people and reached out to GEORGE from LADIES ROOM, fully prepared to be scolded (laughs). GEORGE, a passionate person, understood my feelings and said, “Let’s think of a strategy.” And miraculously, due to GEORGE’s connection, I was able to take a two-shot photo with YOSHIKI, talk with him, and observe his performance and backstage presence. This experience motivated me to push my limits and ignited my creative mode. I decided to explore various ideas for my 30th-anniversary.

──Is it a self-reproduction?

Yes, a sort of re-production. Without resting on my past achievements, I wanted to create a solo album with artists who influenced me over the years. The first live event for THE LOCUS took place in Tokyo in January. After that, I set aside a recording period and embarked on a personal challenge to release 30 songs over three months (April, May, and June) to commemorate my 30 years in music.

──Was it overwhelming to produce so many songs?

Honestly, it was (laughs). But I was delighted that many artists willingly agreed to sing the songs. I’m currently realizing that my 30 years in the industry weren’t in vain. The concert event in Osaka on 5th November was a great success and allowed me to draw a line under the anniversary year of KISAKI band works. The support and coverage from various people played a significant role in this.

──The live in November was highly enjoyable for the audience, offering a true Visual-Kei experience.

Yes, I heard that people haven’t often gone concert became less popular after the pandemic. Despite the early start time, the audience turnout was great, and everyone thoroughly enjoyed themselves, especially during the grand session of “Kamiuta.”

──The 30th anniversary isn’t over yet, right?

There will be a final release plus more in December. 31st December 2023, which marks the finale of the 30th anniversary, I plan to release a video that encapsulates the beauty of Visual-Kei as I envision it, serving as my personal conclusion. It’s like the end credits of a movie, and with its release, I aim to bring the 30th anniversary to a complete close. The video, about 3 minutes long and mostly comprised of sound effects, conveys my message through its visuals and lyrics. It beautifully represents my worldview.

──Can you tell us the title of the release scheduled for 27th December, 2023?

Let’s see, what was it (laughs)… ah, “Eternally.” It signifies eternity, of course. While creating the trilogy, there were about five songs I desperately wanted to release but couldn’t fit into the album. So, the final release is a mini-album. For this, I’ve asked Sono from Matenrou Opera, Ai from DEATHGAZE & DARRELL, AKIRA from MIRAGE – whom I consider my good partner, and Mr. Kanie from THE SHEGLAPES to sing. With this last album, I intend to pour out everything I have, leaving nothing behind (laughs).

──We have comments from Sono of Matenrou Opera and Ai of DEATHGAZE & DARRELL.

ーSono from Matenrou Operaー
Last time I participated in a song written by KISAKI, but this time, having written the lyrics myself, I think I was able to express more of my feelings and emotions in the song. If you liked the previous one, expect something even better.

ーAi from DEATHGAZE & DARRELL ー
The song KISAKI wrote was so good that I really put my all into it. I also wrote the lyrics, and it was a process of trial and error to decide how to sing it. I think it turned out to be a great song, so please listen to it.

──Even after squeezing everything out, do you still wish to create songs that resonate with people’s hearts?

Of course. Even if they aren’t appreciated now. The trilogy I’ve released has been heard to some extent, but who knows, it might get re-evaluated in decades to come. You never know what life has in store.
At the Tokyo and Osaka concerts, we performed songs from Phantasmagoria and Rin. It was more than just exciting; fans reproduced the exact moves from back then. It’s heartening to see songs from bands 15 years ago still being performed without losing their essence.
Many people who came to the live in November said they were moved to hear those songs again after so long. This reinforces my confidence in what I’ve done. I’ve been mocked as someone who ‘can only live in the Visual-Kei world’ from time to time (laughs). But I’m genuinely fascinated by Visual-Kei bands and consider myself a big fan. I still keep up with bands that are active today.
When I spearhead flashy, big events, knowing I have friends who’ll support me validates my 30 years in the industry and the joy we’ve brought to others.
Being on the cover of this inaugural issue wouldn’t have been possible without my 30 years in the industry. I hope readers will keep this article as a keepsake and come back to it years later.

──As a fan, I feel a sense of sadness not knowing what the future holds for you, KISAKI.

I’d like to hear various opinions from those who attended the live shows, listened to the December mini-album, watched the final video, and saw my last appearance through different mediums. A band isn’t just about the members; it’s supported by fans, staff, and collaborators. The concerts in January and November reminded me this.
Artists who have persisted and are still active have a unique scale and individuality; they are comrades I’m proud of. Having spent 30 years with such companions is an extraordinary experience, and I find beauty in people who can turn their passions into their livelihoods.
Everyone’s life is different, but as KISAKI, I’ve lived a unique life. To those who have supported me, if there’s a new beginning, I may return to the stage, so I won’t use the word ‘retirement.’

──Not using the word ‘retirement’ is cool.

Although I said I retired once during Phantasmagoria, I’ve often been accused of ‘retirement fraud’ (laughs). I’ve faced slander and criticism, but many artists and athletes have retired and made comebacks. If people understand my feelings, that’s enough. I’m content with how the 30th anniversary is concluding. The November live concert was unforgettable for those who experienced it. The footage is archived, and I hope to share it someday.

──So, there’s more for fans to look forward to?

Yes. All of this year’s concerts have been filmed. Whether they can be shared remains uncertain, but having not recorded many past concerts and regretting it, I made sure to record all three this year: THE LOCUS (Tokyo and Osaka editions) and KISAKI PROJECT feat. Jui’s first live in 16 years.
I hope there will be an opportunity to have it seen in some form.

──Finally, you’re also releasing a single titled “Hakai”?

“Hakai” directly expresses the ‘impulse’ I felt and the ‘toxicity’ towards Visual-Kei. “Eternally” represents meticulously crafted, intense, and beautiful sounds. I’ve broken everything I admired in music and channeled the initial impulse I felt when starting in Visual-Kei into this song.
I avoided including it in “Eternally” because it’s a different style. It’s a cycle of creation and destruction – building something and then breaking it to start over again. I’ve said everything I wanted with this (laughs). Now, I hope the Visual-Kei scene continues to thrive.