Better late than never was it?
So, here is my long-lost translation of file 400 if my memory serves me right.
@MorganIvy
File 400:
Key: I= Interviewer / M= The Lord of Darkness
Malice Mizer file 400 translation:
I: …Rather, you proceeded with a gaudier feel.
M: Well, as we expanded into the “major” realm, the ability to stage large-scale productions and performances became a reality.
In evolving ourselves and breaking all barriers of perceived limitation within our band, Malice Mizer would be able to achieve certain success. Presenting to the world an, “ultimate group of fine art” were my thoughts at the time.
I: And where did such confidence come from?
M: Firstly, I believe it stems from the quality of my musical composition. If the song, itself, is no good, then it doesn’t really matter how much production it goes through, it is still a bad song. I think my concept definitions and composition form an essential base for me.
Although there were many, when it come to Malice Mizer, that were drawn to our appearance at first glance, there was also a strong awareness of the quality of our composition. From the very first moment that we recorded “Memoire” with Testu, infallible composition was an absolute requirement for us.
I: What are the hallmarks of a “good” song to you?
M: I compose only to create great songs and, thus, I have no particular theory. I did away with the conventional definitions of “rock” and I haven’t really given any thought to the so-called, “chord progressions that sell”. It’s not like I have even learnt music theory to begin with, I can’t write musical notation and I don’t even really get chords.
I make a song by picking up the notes that I feel by ear whilst I’m on the keyboard. Everything is done by feel and, often, the arranger would comment, “these are unthinkable progressions!”. I compose according to my own world view. I think that the fact that classical music was constantly being played at my home (note: as in whilst living with his parents) may have had an influence on me. Although, as a child, I was not particularly interested in classical music myself, the complex sound of classical orchestration likely became deeply ingrained within me. when I am composing a song, it’s quite possible that the classical influence oozes out of me on its own accord.
In addition to this, I also incorporated elements not usually associated with a rock band such as French Pop and Bossanova. I sought out the sounds of the miserable and painful, the magnificent and the refined and graceful.
I: And it was that determined MALICE MIZER that was able to ride atop the “Visual Kei Boom” of the latter 90s period. You were labelled as on one of the “Big Four” and had appearances, not only on music-related programs but also on variety shows.
M: Ah yes, there was the “Big Four” wasn’t there? But, that was not a title of our own making and I wasn’t particularly aware of the name at the time. Although saying this may strike a nerve with our contemporaries lol, for me MALICE MIZER has always flown solo without giving much thought to others’ opinions. It’s not that we didn’t like other bands and their members or anything along those lines. To put it simply, perhaps saying that we always felt out of place (in their own world) is more correct.