 |
| |
| Now, let me ask you about your latest work "lust". This
is your first new album in four years since your last album, but what changes do you think
are evident compared to your previous albums? |
 |
|
R:
|
Up until now, I had been using samplers because I felt like I was missing
something, but I've finally graduated from samplers. This is an album made only with the
SC-88Pro. It's completely behind the times (lol). I didn't make it with that concept in mind,
I just did it because I felt like I could do it all by myself at the stage I was working on
it. Including the production by Akiko Yano last year, all of the things I've made over the
past few years have been done solely with Sound Canvas. When I say this in interviews, people
often say they can't believe it, but I guess they don't want to believe it. |
|
 |
|
| |
| How do you feel about the changes in your sound and
style? |
|
|
R:
|
I've released four albums, but my basic tone hasn't changed. Broadly speaking, there
are tones that are good at sustaining sounds, and tones that have an attack but have good extension.
The only thing I'm thinking about is trying to make people listen to the interesting sound of an
ensemble with that kind of tone. |
|
| |
| So, what's different about this album? |
|
|
R:
|
I think it's probably the simplest one so far. Maybe it's because I got involved with
a lot of people like Yano-san and ASA-CHANG. This album is the result of giving ideas to a lot of
people, and wondering what was left for me in the end (lol).
|
|
|
 |
| Do you feel like a core part of yourself
remains? |
|
|
R:
|
Well, I created something that I wanted to listen to, and this is what I came
up with. I think it has become the exact opposite of the word ``rich in variety.'' It's been
four years since we released this album, but it's not like we could have done something
similar two or three years ago. After all, I think it became this way because I worked with a
lot of different people. |
|
|
| |
| You will be appearing at the event "Sonar 2005" to be held in
Barcelona. How will the live performance be? |
|
|
R:
|
I'm going with Shiro Takatani, who does video work for a Kyoto performance group
called dumb type. It is a form of synchronizing the sound and video, but it is not completely
synchronized, and it feels like there is a little more space. By the way, what Mr. Takatani is doing
is displaying images on 3-screen multiplayer, and showing things that can only be seen on 3-screen
multiplayer. However, since I'm performing live, I can't see it (lol). |
|
| |
| Lastly, please give some advice to our readers who are
involved in music. |
|
|
R:
|
All I can say is that if you love the equipment you bought, use it to the
fullest. Even if you get tired of some equipment and buy new ones, it doesn't change the way
you use it. I don't think anything fundamental will change. |
|
 |
|
