Burst Red Capillaries

Kotoba-factory@live-journal, c'est fini!!!


I can not stand live journal. I can not stand to 20 minutes for large translations updater. All because of their bug for everything and anything.

Kotoba factory cartons and made his move to another blogging platform.

http://kotoba-factory.over-blog.com/


I transferred all my translations! So nothing changes. For cons, I will not erase what's there, because .. I dunno .. there any comments you have left ... and then thin .. is still the first factory kotoba!

Well, two years later, the adventure continues .. but elsewhere! En route to a third year.
The next translation I'll post on my new journal will be one of Toshiya.

Bizzz

Wedding Quotes For Picnik

ITW Kyo, GIGS décembre 2008

I was fast eh! Motivational speaking. However, I felt less comfortable in the end. Because Kyo still speaks of abstract things, and I'm always afraid to be next.

I never been so eager to read song lyrics
.

Do not you feel a sense of pride of having completed an album such as Uroboros?

Kyo: First of all, it was painful. Indeed, I felt a sense of completion each day, I still feel. But this album could not stop on all fronts (laughs). Even the recording of the song took three times longer. I was quick to find the universe and write the words, but the recording itself takes time. In addition, I enter the world of song as much as possible, then I come away at the meticulous arrangements. We arranged with a slight "level mixing. Nothing that it completely changes the atmosphere of the song, so I put special care
.
Did you have a theme, an ideal, in that time while you were singing the songs?

Kyo: It was confused at first, but I had the idea of wanting to make an album of this kind. More than wanting to make an album with the atmosphere and ambience of our current events, I wanted to come with something new. Something that only we could do.

I think you surpassed time a singer. Grunts, whispers, clean, distortion, hissing voice ... in pieces there's a whole range of feelings that emerge. Much more than before. At first listen, I felt the crash. As if we had sucked all my energy.

Kyo: When I raise a challenge by using colors that are 100% me, I feel like doing something that is really me, but to leave wanting to do better than another. It's a challenge to myself. And then I did not do it on purpose to broaden the range of song, I used the kind of voice that stuck the most to describe the scene words. I'm all for the most natural way. Even for the melody, because there are many Japanese that bad stereotype: "A melody melody ~ B ~ chorus. But I do not use it, I do not build my melody on the model: A chorus-melody ... I have a lot of songs that came out at once. I felt like the atmosphere and how to connect the parts together are done so natural, so there is no inconsistency in the songs. Without anything being superficial, the melody flows and wraps. I found rendering good to me. And I creates the song using the correct intonation of voice, sang for the scene. So, I created without including the unnecessary. I opened the "cover" and I took everything I had, the max. The song

which took longer to register?

Kyo: All, really. There was no time and too many voices to be. I sing the easy 8 hours a day, every day. I was exhausted mentally (laughs).

There are also plenty of characters who take the stage in your songs, you should use your vote wisely to convey the world of your words.

Kyo: There are many. There are sweet characters, others offensive, there are many things different. But the words are written with the inspiration of the pieces. I decided to sing with the voice that matches the scene, and the lyrics fit well. If I write the lyrics before they are in contradiction with the song, so I can not.

Vinushka At the end, there is a nice chorus, a beautiful harmony. You did all the voices yourself?

Kyo: Yes, all we hear is mine. When listening to the album, one wonders how many people. But in truth, I've added even more, there are voices in places that are difficult to hear, there are many.

The album is already played in concert. Her Bir ago, then Vinushka lasting close to 10 minutes. You open a climax with this song. The centerpiece is normally located in the middle of the album, right? Does the fact that at the beginning is related to the content of the lyrics?

Kyo: Whatever the order of songs for me. But as one must choose, I am immediately told that this order would be nice. I see it as a battle where, in conclusion, boom! Her bir opens onto a world. That's how the album was formed. Her bir plunges us deeply, and one wonders how will the next place that will open to us. And for that, it could only be Vinushka. The core of the album is already out, people who manage to overcome it have crossed a great mountain, only those who have succeeded will continue. It's very Uroboros as a way of seeing. You can not get into this album by chance, without effort. Even at the level of words, the nuances that I have emerged in virtually all Vinushka. No half measures. And finally on the order of songs, it's the last Inconvenient ideal. Before we reflect together, I had already decided that it would be like this. And as we all went Similarly, we chose to put it in the end.

By Vinushka, you feel a fear unknown. But the album is not limited to the rancor and hatred

. Kyo: Yes. Each song has a message but it is not everything. When finished listening to 13 songs, riffs that have marked pain and heaviness sensations remain in mind, but that does not stop at anything . It also retains an impression of sweetness. I wanted to write in this direction. I write lyrics, but what I aim to produce is an aftertaste. For example, there are CDs where, no matter how the lyrics are heavy, you do not feel anything at the end of listening. Then we can write sweet words, and feel sadness after listening to the CD. I wanted to pass on to other things by using multiple-taste sensations. In this state of mind that for every word, I left a feeling of incompleteness, a difficulty in understanding. Afterwards, I make sure only one point in the song, the lyrics fit well in the ear. Apart from that, they are not highlighted. I'm doing in order to have an image that comes readily to mind when we heard the entire album. The lyrics do not contain hate and resentment, they show a world that was open and observed depths. It may well be the same sky, we look at the middle of a plain country or a place hidden in the depths, how to look, feel, will be different annuity. Kyo of Dir en Grey has chosen to watch the sky shallows. And leave a sense of taste. The lyrics contain the despair and anger, yet when we listened to everything, strangely this is not the despair that remains. I do not write it explicitly in my text, but we feel an image of strength and a great desire to move forward.

In your last interview for Glass Skin (October 2008), you said use a aerial view (from above). So this way of writing does not words that make a point of view height.

Kyo: Humans are evolving as they reflect as much as possible right? Even if he says he does an error and it is better to stop, the human does not think. If we recognize ourselves have made a mistake, then you think and it also grows. I already say for Glass Skin, it must be a little too "sermon." I would really like to say that it is done this way, on an emotional level. I sing the words for myself, but I'd be happy if I manage to make people think on something. Where there is a message that I wanted to pass it on Ware yami tote. It's a love song, and one would think that I sing for a particular person, but it's a song for those who listen and those who come to concerts.

And what prompted you to turn that into song?

Kyo: The feeling we had when discharges, these little things that are born of discomfort. This kind things happen to us even now, but the rejection is not everything. There is also the feeling that one can give birth to new things with what we gave. You can have a different vision, and it gets interesting. I have many different emotions in me.

The manner of titles has also changed a bit. Do you leave the title to say something? It is a starting point to bring thought?

Kyo: The songs themselves have a strong world, whether small or very large. I do not want a title that would set an idea, a piece that was free. I do not like the fact that you can get an idea of the song just by the title. It should be freer. There are emotions planted in an environment that I created. I incorporate everything I harmonize with the song lyrics. When I think I managed to do something something new and unique, then the name comes.

While everything is related in regard to words, what about the album title, UROBOROS?

Kyo: It's Kaoru who found the word, and I liked its resonance. And understanding its significance is even better. The title fits well with the universe rather powerful album. Uroboros is not spherical, but an image oval. In UROBOROS, there is definitely a sense of movement

Sorry for the quality of French ... hehe

+ koto +

Level E Vocab Answers Review Exercies 4-6

Interview Shinya, GIGS Décembre 2008

Interview with Shinya, quite nice. Shinya speaks anymore, so good .. How cool.
I want to clarify my personal glory that I do not know much about drums, and all the small technical terms (even simple) scattered right and left are the Result of wikipédiatesque suffering. Thank you for the lovely

person who sent me the scan, Louise. And thank you to
Silveric, pin number 2 person who sent me the other 12 pages .........

Shinya interview GIGS

It may look like any other drummer. This is one of the flavors of Dir en gray.

I said already, just so personal, that your approach had changed the battery, and the album finally allowed me to confirm it (laughs).

Shinya: In a way (laughter). I change depending on the piece, for what is most appropriate.

You mark almost no conventional rhythm. You play 8 beats for the intro of "bugaboo" and besides that, you have an unusual construction for all other pieces.

Shinya: In principle, yes that's right.

Finally, it traveled the world as you got there?

Shinya: No, I an approach already abnormal I think (laughs). Actually, it goes back to 1 or 2 years when I started thinking to myself that I should focus on this approach. Like long-time approaches, but I stayed on a simple way to play. And after I absorbed the riffs pretty original when it was shot in the world.

Indeed. If you look a little esteem that gives beaters Abroad, we will bring him great respect if his game is unusual. The criterion is: "Something that nobody has thought before."

Shinya: Really? ! In truth, we all said to each other, "but how he does this riff? "What is that? (Laughs). And now I think things are "abnormal" are just our own originality. From there, I wanted to dig into this direction more sharply. I had not committed so far in this direction for Marrow of a Bone.

You deliberately tried to adopt a different riff?

Shinya: No, I already had this different mindset to the base. We can say that this is a homecoming for this album. Until recently, I told myself that I could choose to place importance the groove and the sober, but I came to think that rather than let me sideways, I might as well go back to basics.

I was amazed to see how you come out different emotions with your battery. This time, it is obvious that the song structure develops with clashes marked a sort of surprise. How do you create a riff coming to capture those feelings.

Shinya: These are riffs that come in mind, listening to quite naturally. In this album, developments in the pieces are many, and I thought of lots of different riff. It's the songs that caused it. That is why there are more bizarre riffs than before. But we have not had much time to the period of record (laughs). The riffs came to me in the head but I could not understand until well where you really had to play it. During pre-production, I had to repeat himself in the studio and I started again and again.

You composed the riffs bearing in mind the image of your battery performance?

Shinya: Yes. I made taking into account my set, it is necessary to dial, even in terms of number of elements. There are a lot of riffs that I find myself saying, "I can not play if the set is not so arranged. I think it's easy to understand for the riffs that I used a battery Rototom. This setting is required to play them.

I understand yes. We see that it is important that for a riff, there have resonance and grain, and clear sound and up cymbals.

Shinya: Speaking of space, the same goes for the toms. They were defined more precisely later. Depending on the songs, we had to change the configuration setting. In fact, when we are in position to listen to while reverses. It is a special case but ... If it was too picky about the position for this time, because I wanted people to feel the image of my drum set just by listening to the album.

In addition, what is complicated is that we are on the side of the viewer watching.

Shinya: Yes. I'm not talking about the position of one who plays, but the listener. That's why I think it's easy to imagine when you listen my set pieces. The registration of Dozing green was the same as the single, but to integrate it into the album I correct locations.

It does not stop at the drum set, you can also see you play. But sometimes you hear so much of its battery, you wonder if you have not played in several doses studio (Overdub).

Shinya: In the middle of Ware, Yami Tote, I myself added conga and percussion, so that it sticks to the ambience. There are also among Reiketsu naiseba. These are the only two places where I'm doing overdub, the rest in one take. The battery is quite sought, even when the song is calm.

We also hear how you use the bass drum (kick). Even if your hands stay in the same movement, you change the pace kick.

Shinya: From the moment the kicks that come to mind, this is not a party to which I think a lot of use. The sequence in Red soil had never really been done so far, but still, it's something that has come to you (laughs). Long, things that come to mind are never a source of difficulties. But I often find myself against a wall when I wonder how I'll play it live.

And in that sense, what song is the most complicated?

Shinya: In the bridge (bridge) Glass skin, I combine the hihat and ride. I can confuse me in the order of clapping. In this regard, it is the same for all the songs actually (laughs). But in this case, my head gets tired. I struggled to remember Vinushka. The structure of the song is horrible! It changes progressively, and even in parts, there are sub different parties. I struggled to integrate effectively. This song really took shape when it was in the second half of the work on the album. It was the lowest of any walls to overcome. Full horror of this album have me thoroughly penetrated into the body. However, Gaika, Ga Chinmoku Nemuru Koro has the tempo (DPM228) as fast as I could play, and I struggled physically. It's a blast beat. When I managed to play it, I felt to have progressed.

was well aware that your play has to change by listening to this song. We can say that you're close to a form of perfection.

Shinya: A form of perfection, no I do not think so. I just explored my current limits. I have a game that can look like any other drummer. I'm telling myself that it can be one of the flavors of Dir en gray.

Those who comment can vote for who will be next.
+ koto +