It Comes Back Around. That Way We Discover And Grow Together. We Are Also A Mirror, And So Are The People

Atra Winter 2007 // Klaha

As you can tell from his profile Atra kun is still very much a child. Everything he sees is new to him and he’s full of curiosity thinking everything is his toy. If you're careless and leave things on a table or somewhere within his reach, by the time you realize it, they’ll be hidden somewhere. For example, under the sofa or the bed... You might think you've completely lost something, only to find it one day by chance under the sofa or bed. Such troublesome events happen often. But it’s this mischievous and lively personality that makes him so charming.

However, the thing that's troubling me the most with Atra right now is his eating habits. The problem is he won’t eat unless I’m right beside him constantly stirring his food with my fingers. And in the end unless i place the remaining small amount of food in my palm and feed him by hand he won’t finish his meal.

The root cause is of course that I’ve spoiled him too much. But on days when I have to leave early for a photoshoot or something it’s difficult to always be there to feed him. Not to mention, he eats slowly and tends to eat his meal in several sittings.

So about his eating habits... By the way when Atra kun is in such a troublesome state if I try to leave without indulging him, he will inevitably start making strange, incomprehensible noises like 'Oh, no!!' while jumping at me in desperation.

Of course he also acts spoiled at times. For example, when I'm getting ready to leave, Atra will start pouncing on me as if to say, 'Don’t leave me!' He makes such cute sounds that I can’t help but think, 'How adorable!' It's always a cycle of him calling for me when he wants to eat and us playing chase.

When I can’t help but follow him, he’ll suddenly look back as if to say, 'Are you coming?' Sometimes we swap roles and I have to chase him while he pretends to run away and hide behind doors or other places. We play like this, almost as if we were prince and servant, with him always making me follow him around the house.

Then, when he finally gets sleepy and starts to doze off, he lets out a small, happy squeal, and somehow, all my tiredness disappears. As if by magic, I feel refreshed, as though his presence alone is enough to heal me.

Talking about Atra kun makes me feel like a total doting parent. There's so much more I want to share about him, but I’ll stop here for now. I’ll tell more stories about Atra kun in this section later. It might be boring for people who don’t like animals, but... well. Next time I plan to go somewhere nice. Where that will be, you’ll have to wait and see!

...when I start talking about Atra kun i feel like a total doting parent. There’s still so much more I want to say, but I think I’ll wrap it up here for now. I’d like to share more stories about Atra kun in this section later. It might be boring for people who don’t like animals, though...

Now then, I plan to go somewhere nice next time. Where that will be, you’ll have to wait and see!

Malice Mizer has a grand theme centered around the question, "What does it mean to be human?" The band's very name, which translates to "Malice and Misery," originates from the depths of the human psyche. Their activities as a band can be likened to a journey undertaken alongside their audience in pursuit of answers to this question. Without keeping this context in mind, it would be difficult to truly grasp Malice Mizer's essence.

The theme comes first. To explore and partially highlight this theme, the core of their expressions is always rooted in a concept. For example until shortly before their major debut, they adopted the concept of "Voyage," based on their unique vampire inspired narrative. They released an album titled Voyage and conducted live performances that brought this concept vividly to life.

After their major debut, as is well known, they embraced the concept of "merveilles." Under this concept they released works and performed live, eventually reaching a point where they concluded that chapter of the concept.

The CD releases and live performances up to this point can be seen as keys to understanding and contemplating "merveilles" while approaching the grander theme of what it means to be human. CDs can be regarded as fragments of "merveilles" designed to appeal to the auditory senses while live performances are fragments that appeal to both visual and auditory senses. Even after the release of the album merveilles they continued to release reworked singles of songs from the album. This effort to emphasize fragments of their concept underscores the seriousness of their commitment.

It follows that the live video being released this time featuring tracks from merveilles as well as songs performed exclusively at live events is a natural extension of their concept. Everything they do is grounded in a unified concept.

Although they are sincere in their expression, their live performances are not merely rigid exercises in conceptual work. First time attendees are often stunned by the remarkable balance of artistry and entertainment which reaches levels far beyond what one might expect from any other band's performances. Similar to experiencing the works of progressive rock bands of the past, one does not need to dwell on the concept to thoroughly enjoy the show. "Enchanting noblemen are singing and dancing how wonderful!" That is enough to captivate. However the more you watch the more you find yourself drawn into pondering the concept as if a trap has been set. This depth of enjoyment is one of the secrets to Malice Mizer's popularity which this video release will likely help elucidate.

That said, this video should not be regarded as merely a fragment of a single concept but rather as a record positioned after the conclusion and resolution of a chapter. It serves as an opportunity to reflect on the trail of these men, sincere to the point of being breathtaking, and their artistic pursuit. A fitting end before embarking on a new voyage.

September 1998, Mitsuru Hirose merveilles Shūen to Kisū (merveilles: The End and the Return)

“There are many things to do when returning to love. While we dive underground and study you all feel various things at home! So when we meet again, please look forward to what MALICE MIZER will be like. I am truly happy to have met you all in this arena!”

“Brise” and then, “au revoir.” The stage was illuminated with blue lighting, creating a beautiful scene. The last number was “ma cherie.” The audience joined in singing the call and response of “Ma Cherie.” KAMI, who had been relentlessly playing the drums, surprisingly engaged with the audience from the stage and at his signal the grand chorus of “Ma Cherie” erupted once again. Silver streamers burst from both sides of the stage and the main performance concluded with a united front of the audience and the five members.

And then the encore. The encore was a grand performance that decorated the finale of this tour. KAMI, YU~KI, KOZI and MANA appeared one after the other, each adorned with large wings. Their gorgeous costumes were worth seeing on their own. And then, at the end, Gackt spread his black wings and descended from above the set. It was breathtaking! The song was “Le ciel,” a single scheduled for release on September 30. Finally, in the center of the stage, Gackt spread his arms and looked up to the heavens, causing the star sphere set high above the stage to shine all at once across the entire width of the hall. Oh! It was truly a star filled sky! The dynamic ending evoked a wave of emotion. I felt like giving a tremendous round of applause to the members as they quietly disappeared from the stage.

The blend of musicality, theatricality, and various elements at different moments is what makes their stage interesting. If not done well, it could easily turn into a jumbled and unmanageable situation, but MALICE MIZER skillfully connected the delicate pieces, showing a unique space. And what they will show us next is completely unpredictable. That’s why you absolutely want to see what comes next. Yes, MALICE MIZER is quite dangerous.

STYLE MALICE MIZER

The act of "expression" is not something exclusive to a specialized field. For artists and creators involved in music if we were to put it simply, it is a means of offering hints and proposals that are deeply rooted in one’s personal sensibilities.

This series serves as a method to refine and cultivate those sensibilities in other words, it is a means of expression itself. Life itself is a style.

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Photography = Yohsuke Komatsu (印), Saori Tsuji (◇印)

Featuring MALICE MIZER

Guest = MALICE MIZER

Text by Kazumi Kanoh

Composition = Kazumi Kanoh

Photographs by Yohsuke Komatsu, Saori Tsuji

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ADDITIONAL SORROW

At first glance with their extravagant costumes and makeup, they may appear to be a theatrical troupe. At their live performance at Nippon Seinenkan in January of this year the stage was set in a medieval European aesthetic, reminiscent of a scene from a play.

The performance they delivered far exceeded the confines of a traditional rock band. With a spectacle that was breathtakingly opulent, MALICE MIZER has now drawn attention from various fields.

What do they think?

Where are they headed?

While retracing their past and present, we explore the "STYLE" that is uniquely theirs.

[ORIGIN]

Mana: "MALICE MIZER was formed in August 1992, with Kozi and me at the core. From the very beginning our concept was based on an image of medieval Europe. Nowadays we’ve started incorporating more pop elements but back then, we were fully immersed in Baroque and Gothic influences. We also incorporated a significant amount of classical music elements."

Közi: "At first there were no French influences like there are now. At that time there weren’t many bands focusing on twin guitar arrangements, so we wanted to feature guitar driven music."

Mana: "All of our songs were dark in tone."

Kami: "But even back then, we experimented a lot with unexpected elements."

Mana: "Our vocalist and drummer were different back then as well. In May 1993, Kami joined, and from that point on, we started playing more live shows. At that time, we didn’t have the money to advertise so the only way for people to learn about us was through live performances. So we decided to perform wherever we could. At that time, our concept was still very medieval Europe."

Kami: "We were already doing a lot with the stage back when I joined."

Közi: "We’d incorporate something special into our openings. We never made a typical rock band entrance."

Mana: "Back then, everyone was playing their instruments for the entire set, so the opening was the only moment we had to do something unique. But that was also the most exciting moment, so we wanted to make an impact right from the start. We started incorporating stage sets after we began doing one man shows but even before that, we tried our best to recreate our envisioned aesthetic in live houses. Before we became a one-man act we often opened for other bands during tours and even though we couldn’t build a full set we still decorated the stage. We wrapped it in vines, gathered tree branches from the forest, and placed them on stage."

Közi: "Yeah we’d wake up in the morning and start cutting branches (laughs)."

Mana: "Exactly (laughs). We also organized a series of events called "Tragic Banquet", hosted by MALICE MIZER, where bands like PENICILLIN and SIAM SHADE also performed. At the time, many band-led events were happening in Osaka and Yokohama, but we felt like someone needed to take the lead in Tokyo too so we took the initiative (laughs)."

- Fool's Mate 090

"Malice Mizer's stage is like a scene from a movie."

Interviewer: Did you have a clear sound concept when you first started Malice Mizer?

MANA: I’ve always loved classical music and European music. So I wanted to create a band that fused the beauty and sorrow of melodies using twin guitars to create a mix of these elements. I wanted to combine a European, misty, beautiful image (in terms of aesthetic beauty) with the speed and energy of rock. As for the vocal lines I aimed to create music that has easy to listen to melodies while still hiding a sense of longing and beauty within them.

MANA: Of course when we perform I don't want people to say we sound like anyone else. I want to create Malice Mizer’s unique new sound. In terms of atmosphere, we are gradually getting closer to that, but right now we’re still in the process of experimenting and trying to carve out our own sound.

Interviewer: You’ve only been active for about half a year but do you feel like your sound is starting to solidify?

KOZI: It’s still in its early stages just starting to take shape.

TETSU: It’s just begun to sprout you could say (laughs).

Interviewer: You mentioned "aesthetic beauty" earlier but does that mean you want to create a sound that’s based on melodies with an emphasis on an aesthetic world?

TETSU: Yes, that’s right. We’re not necessarily a "singing band," but we do want to place importance on the vocals.

MANA: As for the other instruments if you listen closely you’ll hear that we carefully craft the harmonies with the guitars and bass. But when it comes to harmonies the more we think about it, the more ideas come up. We often struggle with figuring out the best place to harmonize and where we should put the emphasis in the song, so we end up debating quite a bit.

Interviewer: The interaction between two guitars is quite challenging, right?

MANA: Exactly. It’s not like heavy metal, where there’s a lead and rhythm guitar, and then when you get to the chorus, you harmonize...

A Single Album as a Grand Picture Story

Malice Mizer is finally releasing their 1st album “memoire.” This work is a complete concept album. What is the aim they have set?

In the visual rock scene numerous works are continuously released each month. However, the reality is that most bands releasing works in the form of CDs or videos are either affiliated with various labels or rely on the support of those labels to release their works operating under what is known as a sponsored system.

For example take Malice Mizer. They believe that the best way to express themselves is to cultivate their own field so they have been regularly hosting an event called “The Tragic Dinner” at Shinjuku Loft since last November involving themselves and young bands around them in the creation of a new scene. The guitarist MANA who responded to this interview saying: “We want to make Malice Mizer a brand. To do that it’s ideal to create everything by our own power.” This statement left a deep impression on me.

To further expand their field Malice Mizer will finally release their 1st album “memoire” on July 24 through the label they established, Midi:Nette. Moreover they have completed this album as a grand concept work where various landscapes are interwoven based on a single theme.

“Our aim is to evoke the sadness that lurks deep within humanity through our music. To achieve this, we established the concept of ‘nostalgic memories of the past’ as the basic theme of the album.”

Recently more indie bands have started to create concept albums. However in their case the total story across the six tracks is obvious and each track contains various situations, settings, and devices. For example, just considering the introduction of the album:

“In the first track, a piano piece, the same phrase is repeated over and over. The aim here is to have a repetitive phrase that resembles going round in a spiral staircase, serving as an introduction to the album's story, indicating that the journey into past memories is beginning.”

As mentioned earlier all six tracks included this time are crafted into a story as a single narrative. Moreover, “Each track establishes various scenes of memories from different countries, and to clearly express each member's image, each member plays the protagonist of the story for each song, reflecting it visually in the jacket.” This demonstrates their thorough commitment to concept work.

This is a truly remarkable product, where sound, visuals, and story are all beautifully intertwined into a single narrative.

PROFILE

Malice Mizer consists of five members: TETSU (Vocals), MANA (Guitar), KOZI (Synth), YU-KI (B), and KAMI (Drums). For inquiries regarding “memoire,” contact Midi Nette at 03-3781-6674.

Hibiya Outdoor Music Hall 2 DAYS Concert Sold Out on the Same Day!!

10.10 (Fri) Deuxième Anniversaire - Splendid Resurrection / 10.11 (Sat) Pays de merveilles - The Door to the Empty Moment

(Contact) Hot Staff Promotion 03-5720-9999

"A beautiful and sorrowful story that was once sealed and forgotten long ago is now being revived here. It's hard to distinguish what's reality and what's a dream as this vast and endless journey transcending time and space weaves a grand tapestry of life and death love in its many forms and contrasts all interwoven together. It could perhaps be seen as a grand tapestry of sorts.

The beginning of it all lies with their Malice Mizer's release of their July major debut single "Ver. Aile In the Empty Moment". From this point, they announced that they would express this grand tale in a three dimensional expansion of soundtracks, stage and film. Without a doubt the nationwide standing tour held during this summer, "Pays de merveilles - In the Empty Moment ~", was part of this initiative, and the video of "Ver. Aile In the Empty Moment de l'image" announced here is also the most pivotal point in this journey. Additionally they have decided to set the stage for this story in a medieval French castle shooting it in the style of a silent film. Therefore from mid to late June, they quietly embarked on bringing this story into form as a film in a deep forest in the outskirts of Paris.

The castle in question is truly like something from a fairy tale or a shoujo manga with noble heirs still living in this stone castle that dates back to the 12th century. The distance from the outer gates to the castle is over a kilometer and within the vast grounds are chapels and clock towers with ivy-clad castle walls adorned with red and white climbing roses. This magnificent setting became the perfect stage for the band who have always incorporated medieval European themes into their songs and live shows since their formation.

However for them, this was also the first time they had done full on acting for a film. Each member had to deeply understand their character’s inner world immerse themselves in it and express it directly through film, sometimes even playing dual roles (like Mana and Közi). While they are known as the "ultimate art collective," this was no easy task. Despite some struggles initially, with their efforts, the final result was a stunning set of visuals. The collaboration between the members' sensitivity and dedication, combined with the ideal setting and excellent staff work, resulted in profound, majestic, and beautiful images.

This video, "Ver. Aile In the Empty Moment de l'image", created on an unprecedented scale in the Japanese music industry is not merely a promotional video nor a film. It is a groundbreaking and innovative visual work. At the same time, it serves as a metaphor for the riddles and hints contained within the story that has unfolded through the three dimensional expansion. The relationships between the characters, the hidden intentions in the details, and the multi layered interpretations of the silent format are all things that you should savor while unraveling this work."

Yuki Sugie

Photo credit: Cantavanda

Mana:

At the final stage of merveilles i felt like I saw a light within myself. Or rather i sensed it. I thought that might be an easier way to express it. But in reality... You’d think it came across clearly.

Gackt:

When it comes to live performances, ones that are carefully constructed, i sometimes wonder is that really okay? Of course it's not like it’s 100% perfect. Also you're always aware of the camera. I'd like to try using it more intentionally. Definitely.

Back during the live video Voyage, there were parts I just couldn’t be satisfied with. It wasn’t like we were consciously shaping the footage ourselves. You can really tell the difference between when you're aware of the camera and when you're not. Compared to that, this time we had more cameras and various new elements.

Actually, when it comes to balance, that one buffer, how we manage that, really matters. Promotion video technology has come a long way too. But honestly, I think it might be better to break the whole concept a little more. That’s just my personal view.

There's this assumption that everything is going to be captured on camera. But if I were allowed, I'd like to try breaking away from that. I wonder if that would really be okay. Still it’s not that easy.

The current situation with MALICE MIZER makes it even harder. To capture their live performances, we really have to think about where to put the cameras and how many to use. There are people who can’t see MALICE MIZER live. For them, video becomes the only window in.

So as a way to give them that experience, I’d love to just place cameras and film a live. Without overthinking it, maybe even using 200 cameras. But in the end, what we always struggle with is how to shoot the stage without interfering with it. Maybe we didn’t fully utilize some of the camera angles either. Fundamentally, there are things that cameras simply aren’t meant to capture.

Malice Mizer

"Let’s Play with Wax Figures!!!"

February 24, 2000 – Tokyo Tower Wax Museum

Mana sama dressed in a new black outfit from Moi-même-Moitié (the brand by none other than Mana-sama himself) and i ventured to the Tokyo Tower Wax Museum. The last time i visited here was in elementary school. I vaguely recall being terrified of the "Western Torture Room." Well guess what, it’s still here! This room set up to prevent people from forgetting the horrors humans once inflicted on each other is full of grotesque displays. The background music is ominous enhancing the sense of dread. Ten minutes in here and you’d go mad! As i felt my spirits sinking i glanced over at Mana-sama, who was completely unfazed. I asked, "Doesn’t this make you feel sick?" Mana sama replied calmly, "Not at all." "I've been interested in things like this since i was young and i used to read books like The Encyclopedia of Torture." (Mana)… The Encyclopedia of Torture! There really are all kinds of books in this world.

Aside from the torture chamber the museum is packed with wax figures of rock musicians and movie stars. When i suggested, "Maybe it would be fun to take some rock inspired photos," Mana sama even tried to climb over the railing to pose with the figure of Deep Purple (a British hard rock band active mainly in the 1970s). Suddenly… BEEP! An alarm went off! Mana sama also took photos with Julia Roberts from Pretty Woman and Arnold Schwarzenegger as the Terminator. For “unreleased” photos he posed with Venus and Bacchus. Mana sama you naughty thing! …Or so i thought but Mana sama was quick to say, "Make sure to mention that I wasn’t actually touching her chest!" to avoid any misunderstanding.

Drifting into the Mysterious Space of the Future

In June, Malice Mizer will release their first-ever video work, "sans retour Voyage 'dernière' encore une fois." This piece, labeled as a digest version of their final indie live performance at Shibuya Public Hall on April 1st, serves as the subject of this interview. Additionally, we will explore the truth behind their upcoming summer standing tour, "Pays de merveilles."

Interview & Text by Yuki Sugie

— Some time has passed, but how was the final performance of "sans retour Voyage dernière encore une fois" at Shibuya Public Hall for you as members?

Mana: Shibuko (Shibuya Public Hall) has about twice the capacity of Seinenkan (Japan Youth Hall), but surprisingly, it didn’t feel that much bigger. One thing I do remember clearly, though, is that during my solo dance corner, I wore platform heels for the first time in a while, and it was a real struggle.

— Walking in them is hard enough, but dancing in them must have been nearly impossible, right?

Közi: In Osaka, I kept falling over by myself multiple times.

Mana: Here I was, striking a perfect pose, looking all cool, and then right next to me, Közi kept rolling around on the floor.

Camui Gackt: (From the stage, visually, it did look a bit small.)

Mana: I heard that because the building is old, the seating arrangement is much tighter than in modern venues, which makes it feel smaller.

Gackt: Even the stage itself felt pretty cramped when standing on it. But still, I had the real sense that we had moved forward compared to our Seinenkan live. That said, it’s already in the past. Right now, I can only think about what’s ahead. We have to keep improving and pushing forward. After all, if we finish a live and think, “Ah, that was great,” and feel completely satisfied, isn’t that the end?

Közi: Wait, does that mean we’re already done? (laughs)

Kami: Apparently so. (laughs)

Well, each member probably has their own way of interpreting things.

Kami: For me, performing at Shibuko was something I had wanted to do for a long time. But once the live started, I became so immersed in the performance itself that I didn’t even think about it. Also, personally, I wasn’t satisfied with the Osaka show at all because of various mental struggles at the time. But at Shibuko, I was able to overcome that, so in that sense, I felt good about it. Of course, performance-wise, I still have a long way to go, but mentally, it was a big improvement for me.

Gackt: That day, Kami had an amazing expression on his face. His intensity was on another level.

Kami: Yeah, by the end, I was really moved. Since my drum set was on the second level of the stage, I was at eye level with the second-floor audience. Towards the end, when the lights illuminated the audience and I could see their faces clearly, I got a little emotional.

— I see. Also, during your drum solo, the glowing drumsticks made their first appearance, right?

Kami: Yeah, that was great! …Wait, they actually glowed well?

— Yes, they shined very brightly.

Kami: Oh, really? (laughs)

— And Közi, how was it for you?

Közi: It was such a long time ago that I’ve already started forgetting things. (laughs)

(Everyone laughs.)

Mana: In that scene where we were expressing the “eros of a confined space,” if you had fallen over, it would have been a disaster. (laughs)

— But you managed to stay on your feet at Shibuko, right?

Közi: It was really difficult, though.

— Speaking of difficult things, Yuki, you had a flying scene that day (as mentioned in last month’s live report). Wasn’t that scary?

Yu~ki: I’m not really a fan of heights. We did it in both Osaka and Tokyo, but since I wasn’t used to it, my stomach was in knots the whole time.

— I can imagine! That sounds intense. (laughs)

Yu~ki: I was in a “Hurry up and lower me down!” state. You know, it felt kind of like those pirate ship rides at amusement parks.

— Like Flying Pirates or Viking rides?

Yu~ki: Exactly! Those things make me super nervous.

Gackt: Ah, so it felt like the excitement of a first love?

— Uh… I think that’s a different kind of nervousness. (laughs)

Gackt: Oh, it’s different? Hmm. But for me, riding roller coasters brings back memories of my first love.

— What kind of first love did you have, Gackt?! (laughs)

Gackt: Well, when you’re on those rides, doesn’t it feel amazing? Is that weird?

Yu~ki: I can’t handle them at all. I’m the type who turns pale and breaks into a cold sweat after getting off. (laughs)

— And yet, you still decided to fly on stage at Shibuko?

Yu~ki: Yeah… Somehow, before I knew it, it was just happening. (laughs) But really, everyone worked hard that day.