Dogmatic -Trois- World Tour ’16 – The GazettE

Visual kei staples, The GazettE, announce their 2016 world tour, with dates in North America!

In support of their “PROJECT: DARK AGE” and album Dogma, The GazettE is setting out on a world tour. Starting out in South America, they will hit six North American cities before heading to Asia and Europe.

In a video posted to their Facebook, The GazettE have alluded to two more movements in the project and a Grand Finale! Since this is The Gazette’s first tour in the US, expect these shows to sell out. Dates, links, and ticket sale information can be found below.

The Toronto, San Francisco, and Vancouver dates are presented by Goldenvoice.

The GazettE is a visual kei hard rock and metal band from Kanagawa. They formed in 2002 and in the last fourteen years, their sound has evolved into a darker and heavier sound. Earlier albums have some funkier and punk influences while in later albums, The GazettE experimented with more electronic sounds.
Well known within the visual kei scene, fans of Dir en Grey, MUCC, lynch., and Sadie will enjoy The GazettE.

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Dir en Grey at Slim's

Dir en Grey performed a memorable and intimate show for California fans.

Well, better later than never. Even though Dir en Grey came back to North America in November, I’ve been swamped with a new job at a new company. Oops… Any way, Dir en Grey fans in San Francisco got a treat of seeing Dir en Grey in a smaller venue. They played a wide-ranging set from across their discography, but still leaning towards their newest album. Enjoy the picture set!

Dir en Grey is currently on their Finem Lauda tour throughout Japan, and will wrap up the Arche age with two shows at the Budokan on February 5th and 6th, 2016.


Behind a vacant image
Sustain the untruth
Merciless Cult
and Zero
Chain repulsion
Revelation of mankind

Un duex

One of the most successful non-English speaking metal acts, Dir en Grey continues to defy classification. While their earlier work had more rock and punk tones, they’ve settled into a unique blend of progressive metal, hardcore, black metal, and gothic sounds.
While Dir en Grey is hard to place within a certain genre, fans of bands like Arcturus, Dillinger Escape Plan, The Atlas Moth, and Between the Buried and Me may like the experimental sound Dir en Grey.

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Never Free From The Awakening – Dir en Grey

After two years away, Japanese extreme metal group, Dir en Grey, return to North America for a 7 stop tour.

After two years, Dir en Grey return to the North American continent for a small run of shows. The Japanese extreme metal group will visit seven cities in the United States, Mexico, and Canada. Earlier in October, guitarist Kaoru left a message for fans on their instagram channel letting fans know that they plan to play songs that were played when they first toured the US. Expect songs from their albums Withering to Death and The Marrow of a Bone. Hopefully a few songs from their most recent album Arche will also make an appearance since North American fans have not been able to see those live yet.

At the time of this writing, the shows at Chicago and New York are already sold out! So if you are planning to go, make sure to not procrastinate and pick up a ticket.

One of the most successful non-English speaking metal acts, Dir en Grey continues to defy classification. While their earlier work had more rock and punk tones, they’ve settled into a unique blend of progressive metal, hardcore, black metal, and gothic sounds.
While Dir en Grey is hard to place within a certain genre, fans of bands like Arcturus, Dillinger Escape Plan, The Atlas Moth, and Between the Buried and Me may like the experimental sound Dir en Grey produces.

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Alcest & Emma Ruth Rundle – Slim’s SF

On October 6th, NoiseSpeaks headed over to Slim’s SF to check out French shoe gazers Alcest. Marriages frontwoman, Emma Ruth Rundle, opened the show with her guitar-driven solo work.

When Emma Ruth Rundle took the stage at Slim’s, it was just her and her guitars on stage. While she played a short set, she was warmly welcomed by the gathering crowd. Her set came almost entirely from her latest solo work, Some Heavy Ocean. Her performance was more subdued than her set at ArcTanGent, but the tone worked well leading into Alcest’s set.

There were two highlights to Emma’s set. The first being the performance of The Nocturnes’ song, “The Color.” The second one came at the very end of her set when she asked Alcest’s Neige to join her onstage for the last song, “Run Forever“. The duet added a softness compared to the recorded version. Seeing the two perform together was surely something to remember for fans of both artists.

Before Alcest took the stage, I had overheard a lot of chatter speculating what Alcest would play: the louder, black meta-tinged shoe gaze or the more recent ambient tracks. However, Alcest was able to balance the variety of their sounds in their set. The set was pretty evenly distributed across the last four of their major releases. Throughout the show, you could see who in the audience was there for which sounds as the tone of the crowd changed accordingly.

All members put on a terrific show, however drummer Winterhalter had a bit of a comedy of errors happening at the back of the stage. His bass drum kept on trying to wander away from him until finally a wall of sandbags barricaded it in. Since everyone is such a professional, all the mishap added was a bit of lightheartedness to the show.

Overall, the entire tone of the night was relaxed and chill. Both Emma and Alcest put in atmospheric sets, which worked well to play off each other. The couple special moments throughout the night ensured a successful show.

Alcest will continue their tour of the US with Emma Ruth Rundle until October 17th when they finish in Philadelphia. Be sure to check out both artists newest releases: Alcest’s Shelter and Emma Ruth Rundle’s Some Heavy Ocean out now on their respective labels.

Alcest’s influence within both the black metal and shoe gaze genres is undeniable. Based out of France, this four piece band was one of the first bands to combine the raw bleakness of black metal with the dreamy components of shoe gaze. Official site

Emma Ruth Rundle is known for her involvement with bands Marriages and Red Sparowes. Her etherial and guitar driven solo work has brought comparisons to artists like Sinead O’Connor or The Cranberries. Official site

Both photos of Emma Ruth Rundle courtesy of Allan Wan Photography. Official site

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Elegance – The Novembers

Elegance is a continuation of the mindset that started with Rhapsody in Beauty and the two albums fit together seamlessly.

The Novembers continue to stay busy. They released their fifth full length album, Rhapsody in Beauty, a short year ago, then quickly followed that up with their first live DVD. Now, they have released their fifth EP, Elegance.

Within The Novembers’ discography, there is a general trend where full length efforts feature all facets of their sound while their EPs tend to hyper-focus on just one. In Elegance, they emphasize their softer dream pop side, leaving any aspect of noise out. Elegance is a continuation of the mindset that started with Rhapsody in Beauty and the two albums fit together seamlessly.

The effort is aptly titled. Singer and main songwriter, Yusuke Kobayashi, leaves his mark on the album. With his vocals on point in every song, he is the highlight of the album. Opening track “クララ” is a fitting love song. The lyrics tell of the fascination between parent and child, when one sees the world for the first time and the other wants to show the world back to them. The track is airy and dreamy, with a hypnotizing vocal performance from Kobayashi. Like the rest of the album, The Novembers do not rely on their normally heavy guitar driven sound, instead they opt for lighter keyboard and pedal effects.

出る傷を探す血” is a powerful but still mature track, showing the growth within their songwriting abilities.

Second track, ”心一つ持ちきれないまま”, features a more familiar sound. Kobayashi’s voice soars throughout the track, while drummer Ryousuke Yoshiki keeps the everything else grounded. Besides Kobayashi, Yoshiki is the other standout. This is the first album of theirs where I took notice of the drums, as Yoshiki tends to stay the backbone of their songs. The drums on “裸のミンク” are particularly interesting, having a familiar jazz and groove feel to them.

Of course, it is a bit disappointing that Elegance does not showcase a bit more of The Novembers’ noisier side. I find many of their drone and noise influenced works tend to be more compositionally interesting. Closing track, “出る傷を探す血”, brings a more of an aggressive tone. So it’s not surprising that it is my favorite track. “出る傷を探す血” is powerful but still mature, showing the growth within their songwriting abilities.

The Novembers’ always show progression within their musical efforts. With Elegance, they’ve developed the dreamier sound that started with Rhapsody in Beauty. It’s a solid effort, full of incredible vocals and solid composition. However, fans of their more heavier sound will be disappointed. The strongest tracks are the ones that bookend the album, but that’s not to say the middle is boring. Elegance shows a different side to The Novembers, and their sound will continue to evolve, like it always does. (7.5/10)

Founded in 2005, The Novembers are an Japanese alternative rock band whose sound spans multiple genres. Within their ten years, they’ve been prolific, releasing nine albums. Highly active in the Tokyo music scene, they are starting to draw attention overseas. Official site
My Bloody Valentine, Slowdive, Nirvana, Godspeed You! Black Emperor, ART-SCHOOL, Boris, and fans of drone driven shoegaze.
You can purchase Elegance at The Novembers Official Webstore or at their Bandcamp site

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Leave Them All Behind 2015 – Ebisu Liquid Room

Beginning in 2009, Leave Them All Behind is an annual music showcase in Tokyo. It features a variety of artists from both inside and outside Japan. Previous performers include Sunn O))), Godflesh, Deafheaven, as well as recurring guests Boris, MONO, and Envy. This year, Leave Them All Behind spanned over two days at iconic live houses, Ebisu Liquid Room and Daikanyama Unit.

Day One at Ebisu Liquid Room

As you can see from the above poster, it was a bit unclear what the order of the line-up was going to be for the two nights. So it was surprising for many to see Envy open up the first night of Leave Them All Behind.

But in hindsight, you could not have asked for a more powerful opening band. Similarly to their May show at the Liquid Room, Envy played an emotionally charged set. Running at about an hour, about half of their set came from their recent release, Atheist’s Cornea, while the remaining songs came from Recitation and Insomniac Doze.

Between May and September, vocalist Tetsuya has been strengthening his clean vocals. There was a definite improvement between their album release show and now, and this improvement continues to show in Tetsuya’s confidence in his performance.

A guest violinist joined Envy on stage for the final three songs.

Photo Credit Anas Saleh (2015)

Also similar to last time, Envy brought a guest violinist to accompany them for “Shining Finger“, “A Warm Room“, and “Ticking Time and String“. Fellow band members were as strong as ever as they warmed the crowd up for the remainder of the evening.

Next up was Sumac, a band admittedly only known to me in name only. However, their credentials speak for themselves. Consisting of current and previous members of bands such as Isis, Old Man Gloom, Baptists, and Russian Circles, this was sure to be a band that could put on a show. Sumac put on a punishing set of sludge metal. Drummer Nick Yacyshyn completely stole the show with both his technique and energy, while guitarist Aaron Turner laid down some slick licks that got the audience pumped up.

The only downside was that Sumac stood out as an outlier on the bill. It was the other side of the same coin. Boris, MONO and Envy all have an elegance to the noise they create, while Sumac is pure pounding punishment. I had a suspicion that Sumac would fit in better in with the line-up at Unit.

Taka, at the end of the set, manipulating his instruments in the way only he knows how.

Photo credit Anas Saleh (2015)

When MONO took the stage next, I had a bit of deja vu happening. I saw them recently in San Francisco where they played a very similar set. Nonetheless, they were more energetic and dynamic than their San Francisco set. Bassist Tamaki Kunishi seemed more relaxed in this space and as a result, her bass came through better. She was rather hypnotic and elegant throughout the entire performance.

Lead guitarist and leader, Takaakira “Taka” Goto, is always the one to watch. His entire body and self ebbs and flows throughout the set, creating an emotional energy that radiates throughout the venue. Performing always seems to be a very personal experience for Taka. This makes watching MONO play a treat, like we’re watching a private and intimate moment.

Rounding up the night was Boris. Now, for those that don’t know, when you go to Boris show, there are two different kinds of Boris you can encounter. This night, the experimental, noisy boris showed up. They played a dream setlist from songs across their discography. The size of the venue played in their favor and allowed them to play louder and experiment more than how I’ve seen them in the past.

Boris premiered a new song, “More“, which reminded me of “Surrender” from urban dance. The song only continued to raise my hopes for where the next Boris album is headed. “More” was followed up by another newish track “Killmister“, which premiered at the May show with Endon.

Boris brought their top effort to the show, knowing the acts that they had to follow. They were respectful to their peers, and didn’t seek to overshadow them. If anything, their set was a cool down for the audience. After three highly emotional sets, Boris was there to bring us back down to the ground and settle us. I noticed the audience seemed hypnotized as the threesome made their way through the wall of sound. It was a good moment to reflect on the kind of night that just happened. Four bands, making up a perfect line up, playing near perfect sets. Not much more to ask for, and the following night had big shoes to follow.

The recap of night two at Daikanyama Unit is coming soon.

Boris – Leaders of Japanese Drone Official site 

MONO – Emotional instrumental post-rock Official Site

Sumac – Punishing heavy music from members of Old Man Gloom, Baptists, and Russian Circles Official Facebook

Envy – Japanese masters of post-hardcore Official site

All photos courtesy of Anas Selah.

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Marriages – Interview at ArcTanGent

Greg Burns / 2014

During ArcTanGent, NoiseSpeaks got to joke around with the members of Marriages between sets. Guitarist/vocalist Emma Ruth Rundle, bassist Greg Burns, and drummer Andrew Clinco poke fun at Silicon Valley, talk recent tours, and go in depth about their album, Salome.

This isn’t your first trip to the UK to tour, correct?

Emma: We were here earlier this year. We did a tour in Europe with Wovenhand and we finished it up with a show in London. Not sure when that was exactly.

Greg: About four months ago in April.

Emma: Was it that long ago?

So right after you released Salome?

Greg: Yeah, about two weeks after it had come out.

Emma, you’ve got the solo tour coming up with Alcest. Congratulations, by the way, that should be a fantastic tour. How was your headline tour in the US for Salome?

Emma: We just finished the headline tour for Salome before coming out here. We literally finished it and came here a few days after.

That’s right, the San Francisco date was that festival, Phono Del Sol. How did the tour go?

Emma: It was great. We became really good friends with Creepoid, and met a lot of new people and saw a lot of friends. We were able to realize the songs from the record in a positive way. It was a good experience.

Greg: It was also our first tour that we’ve done as a headlining tour. It was interesting to break that milestone. We had a good time.

Between Kitsune and Salome, there was not only a large time gap and also that Marriages’ sound changed quite a bit. Can you talk about the process of how your sound evolved? I think a lot of fans were shocked when Salome came out. They were expecting something more similar to the first EP.

Greg: Well, as far as the sound evolving, Kitsune was written right out of a Red Sparowes’ frame of mind. We didn’t write it with a drummer. We had Dave Clifford, a friend, play on the EP, but we wrote it and recorded it within six months of starting the band. So it was very stream of consciousness. Very little thought went into it, for good or bad. Dave played on the record and did some shows with us, and then shortly after that Andrew joined the band full time.

I think a big part of the evolution was just having Andrew as a permanent drummer. He plays a lot of instruments, he’s very musical and we enjoyed having him as part of the song writing process. But also, we payed a lot more attention to the songs themselves and really thought through the songs, almost to the point, that it slowed us down more than we wanted it to. That was part of the reason for the gap.

After that, the actual recording process took close to a year. It was really long. There were some challenges that were a bit unfortunate, but I won’t get into that. Normally for us to record a record, we’re done in a month. This time it took a year. That’s sort of the reason, which we won’t do again.

I saw you guys with Boris on some of the West Coast dates last year, so how was the tour with Boris?

Emma: We’ve toured with Boris a few times. And with Red Sparowes, we toured with Boris. I feel like Boris is one band we’ve probably toured more than any other band. So we’ve had a chance to see their daughter grow up and I always love touring with them and they are the nicest people. They’re hilarious and they put on an amazing show every time. They are all really kind.

Greg: Atsuo speaks English well, so there’s not really a language barrier. Surprisingly there are these weird ways to break through that where I personally don’t even think about it after the first or second day.

You guys are known in Japan a bit, are you hoping to tour Japan one day?

Greg & Emma: Yes!

Emma: I would love to go to Japan. I didn’t know we had any sort of presence there.

Some of the people I’ve talked to know you. Maybe Boris talked you guys up a little bit more. I noticed in a few of record shops, I saw Kitsune multiple times.

Emma: Maybe having the Japanese name was helpful.

Andrew: We didn’t do a Daymare release for Salome, though did we?

Emma: I don’t think so.

Andrew: I know they did for Kitsune, because I played on that song. The extra track. I always forget about that.

Greg: I was actually going to mention that. That’s actually one of my favorite Marriages’ song. It’s the first song that we recorded with Andrew in my living room as an extra bonus track for the Kitsune Japanese release. And I feel like probably a lot of people haven’t heard about that. You can almost see a bit of the evolution, and it’s a really experimental track.

Andrew: I’d like to hear that again.

I’d like to hear it too.

Greg: It’s called “Pyramids”.

Emma, I also wanted to ask you about your vocal evolution between Kitsune and Salome. ArcTanGent compared you to Sinead O’Connor in their program. I also see a lot of Dolores O’Riordan from The Cranberries in there.

Emma: Aw, thank you.

And also a bit of Alanis Morrisette

Emma: Ew…

Taking the Alanis Morrisette back…

Emma: That’s okay. The Cranberries are a huge influence, but the main thing is that we did write songs for Salome that were more vocally focused, whereas vocals were treated more as an instrument on Kitsune. There was a lot of processing. I was using a pedal at the time that had some fourmanship and generated harmonies as well. I don’t think at first we really wanted to have a band with a singer, it was all sort of meant to be more textural. But as we progressed, we decided we wanted to shift the focus into having songs as opposed to a journey of sound.

I can see that dynamic between the two.

Emma: So the mix was different and the way the vocals were recorded was different.

So you’re probably will be prepping for the Alcest tour soon, after that what is the plan for Marriages?

Andrew: Well, we all have our respective side projects, Emma has hers and I have my own that I work on. I play guitar in.

Emma: It’s called Drab Majesty, it’s amazing.

Andrew: Greg has a daughter, and I’m sure he needs to spend time with her to make up for lost tour time.

Emma: We’ve put in a lot of work this year. We have done a lot of touring so far. I think we’re going to take a little bit of a break, unless an extraordinary touring opportunity comes up. Then I think after a few months, we’ll try to reconvene and start writing again but maybe do it in a more intensive way.

More compact and not as drawn out as last time.

Andrew: Yeah, a think tank.

Greg: There’s actually a Silicon Valley CEO who has gotten us an Incubator with the idea that we create an app for our record, and we’re going… no I’m just kidding.

As someone who works in Silicon Valley, I wouldn’t be surprised if that didn’t happen at some point… How’s the LA scene compared to San Francisco?

Andrew: I think to be honest, I think the San Francisco scene is a lot more lively and a lot more attended. Shows are much more well attended in SF. Just due to the nature of the walking culture versus LA. And LA, I think there is a different kind of attention span in LA where the direct support gets more focus than a headline.

There is so much distraction and so many things going on that people don’t want to drive late at night. There’s all these issues surrounding attendance in LA. If you do pack a show in LA, that is amazing. There’s more venues in SF, just the volume of venues and a lot of great bands. I’m born and raised in LA, but I just have some allegiance to San Francisco from when I did live there. It’s kind of a better scene right now.

Any last words?

Andrew: We would love to go to Japan, if anyone reads this. Bring us over there.

Emma: Japan would be great.

Who would you want to support you if you went? Do a flop and have Boris support you?

Emma: Oh no, I would never want them to support us, that’d be weird.

Greg: There’s no way we could hold our own after them.

Emma: I’d want to go with Helms Alee, that would be so amazing.

Greg: That would be amazing.

Based out of Los Angeles, Marriages was formed by Greg Burns and Emma Ruth Rundle, both of whom were in Red Sparowes. Later, drummer Andrew Clinco joined to finish the current lineup. Marriages blends various genres together to produce an earthy and atmospheric mix of noise and sound. They released their first full length, Salome, in early 2015. Official Site
Red Sparowes, Boris, Jesu, Junius, Helms Alee, The Cranberries, Rosetta, Kayo Dot
Top – Band photo: Greg Burns (2014)

Bottom – Emma Ruth Rundle at ArcTanGent: Nick Sayers (2015)

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Rigen (裏現) – Cohol

In Rigen, Cohol have created one of the more traditional black metal albums that is neither lazy or full of clownish stereotypes.

Pure black metal has been stagnated for years. Over the last five or more years, the standouts in the genre have incorporated sounds and styles from a variety of musical influences, from Deafheaven’s additions of shoegaze to Kvelertak’s black and roll style. This transformation was been controversial for many fans, with many reverting to a purist viewpoint. However, bands that fall into “pure” black metal, for lack of a better term, have either become boring or gimmicky. A joke of their former selves.

Which is why Cohol is so interesting. In Rigen, they have created one of the more traditional black metal albums in a while that is neither lazy or full of clownish stereotypes. It’s just hard hitting black metal with all the elements we remember. The instrumentation, vocals, and song-structures are more reminiscent of the second wave of black metal than the first wave, which allows the beauty of the album to come thorough. While listening through the album, early Satyricon and Dimmu Borgir come to mind. However, the album never feels dated.

While darkness and anger energizes the album, there are elements of atmospheric and depressive stylings that add to the listenability of the album. Appropriately named opening track “Frozen” brings a calmness that then crashes down with the next track. However, these softer additions are minimal, which is why I refrain from adding Cohol to the likes of Ghost Bath, Heaven in Her Arms, or Agalloch. This album is too brutal in parts for the above comparisons.

While darkness and anger energizes Rigen, there are elements of atmospheric and depressive stylings that add to the listenability of the album.

The power behind Cohol’s style no doubt comes from their beginnings. On tracks “Funeral March” and “Arche Pathogen”, you can hear death metal influences. Drummer Kyosuke keeps his style simple and traditional while laying a solid foundation for the other two members to build on.

Cohol understands how to take the elements fans have come to love about extreme metal and strip away the cartoonish qualities to it. They focus on the music, not the theatrics and in turn, create a refreshing black metal album. Rigen is something you can bang your head to, get angry to, or relax to. What makes this album promising is that it has an ability to connect emotionally with it’s listeners, while being faithful to its genre. After a long hiatus, I’m glad to see Cohol come back out with such a strong offering. (8.3/10)

Cohol began as a death metal band in the early 2000s before taking a long hiatus and then emerging with a blacker, more ambient sound. Signed to Osmose Productions in 2013, Cohol re-debuted with Rigen in 2015.

deafheaven, So Hideous, Harakiri for the Sky, Boris, Jesu, Envy, Agalloch, The Atlas Moth, Bosse-de-Nage
Foreign fans can order Rigen directly from Osmose Productions.

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LITE – Interview at ArcTanGent

Before any band took the stage at ArcTanGent 2015, NoiseSpeaks sat down with guitarist Nobuyuki Takeda to talk about the festival and future plans.

Welcome back to ArcTanGent, LITE appeared last year, is everyone excited to be back? How was last year’s festival?

Takeda: Yeah, very much. Last year was the first time to play a show at ArcTanGent. We didn’t expect this kind of awesome new festival, where people are so kind to us and going crazy all the time. I thought it was just a crazy festival.

Are you staying the weekend to enjoy the festival?

Takeda: This time? No. We have to go back after our set.

Back to Japan?

Takeda: No, we are going to play a show in Paris. On a boat!

Sad to see that everyone doesn’t get to stay and relax a bit. But, if you were to stay, which band would you be looking forward to seeing?

Takeda: I really want to see Deerhoof. I’m a big fan of them.

Last spring you toured the US, how did the tour go?

Takeda: Some big venues were really great because there were so many people. Big cities like New York and Chicago were packed. But some small cities were difficult, not much of an audience. But it happens on tour, and it works too.

So were there any particularly memorable moments?

Takeda: We took a Visual Technician. Sometimes in Japan, we take him with us to our shows. It works really well, so I wanted to show that to our US fans. It was really awesome for me.

Whose idea was it to make it a documentary?

Takeda: It was the band’s idea. Everyone’s idea.

The documentary, PAST 7 DAYS, is getting released on September 2nd. Was the goal of the documentary to commemorate the trip or was the plan to help show the Japanese fans that LITE’s music stretches across the world?

Takeda: Because we don’t have a singer and we don’t have lyrics. So our Japanese fans don’t understand how LITE are popular abroad. Japanese people tend to be more shy, while our fans abroad can be more crazy. So we took many memorable shots, and also shots of our relaxed time on the tour. It’s important for us to tell everybody about our foreign experiences. It affects the music, I think.

On the trailer for the documentary, there was one fan in particular, said that he considered LITE better than The Who, Led Zeppelin, and The Beatles. How does the band feel when fans praise you like that?

Takeda: We know him very much, and he knows a lot about LITE. But it’s kind of too much, Led Zeppelin, Beatles, you know? It’s too much. But it makes us happy to hear that.

I notice that the foreign fans of Japanese music tend to be very intense. It’s more than just liking the band, fans tend to obsess about the band. Do you notice this with your foreign fans?

Takeda: Foreign fans tend to be much more crazy than Japanese fans, but at the same time, they are so friendly and they have an open mind. There was a surprise when we first played overseas. The surprise was that the fans sang a song with us. This never happens in Japan. It made us so happy.

Will you be touring after ArcTanGent?

Takeda: No, not that much. Just one show after this one. We didn’t decide to tour. What we need is to release a new album, and we’ve been working hard.

I was going to ask about that. It’s been a while since Installation was released. I know life and touring can get busy, is there any particular reason there’s been delay for the next album?

Takeda: We really want to release new material that has never appeared before in the world and so it just takes a really long time.

What kind of hope can you give fans for the new album? Any updates?

Takeda: Some songs are going to be recorded in a few months in October. But the rest of the songs, we’ll be working on until next year.

What are some of the artists that you are listening to right now? And who are the bands that you look to for inspiration?

Takeda: So first, for inspiration, for us that would be Steve Albini, Shellac, and Big Black. I’m a big fan of them and their sound. Also, I found Don Caballero and Battles. Of course, I’m a big fan of math rock. I got into prog rock, too, RPM and Italian prog rock and King Crimson, of course. Now, actually I don’t listen to music much recently because I have not found a good sound for me to listen to forever. I’m just concentrating on LITE and how to make our sounds.

That’s a view I find quite common with musicians, that they are so busy creating, that’s it too much to also be active music fans.

So then, are there any up-and-coming Japanese bands that you want foreign fans to know about? Within parts of the Japanese scene are very close, everyone is always together and going to each other’s shows. Are there any bands that you want to help support and reach an overseas fan base?

Takeda: There’s a band called LOSTAGE (SITE), they are from Nara. They are quite a good band.

Do you hope to come back to ArcTanGent next year?

Takeda: I’m not sure, hopefully.

ArcTanGent has a history of having Japanese bands play. Who else from Japan do you think will fit in this festival?

Takeda: toe and Envy would totally fit. downy would fit as well, but it’s harder for them. They have jobs.

After the interview, LITE played an awesome set on the Yohkai stage of ArcTanGent. The always energetic foursome moved their way through material set to a stunning light show in front a large early crowd. Just like Takeda said earlier, afterwards, they had to pack back up and head off to Paris. The mentioned documentary, PAST 7 DAYS, released on September 2nd and is available for purchase.

LITE finds success in both their native Japan and overseas with their wild and energetic live shows. Their latest album, Installation, was released in 2013.
Fans of fellow Japanese bands toe, MONO, and downy will enjoy LITE. If you love instrumental math rock, you’ve probably already heard of LITE.

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