Aiji RR 46 Interview

Today, tell us of your love for Maya.

Aiji: I can’t, it’s too great! (Laughs)

“It’s too great!” That came out fast! Well said.

Aiji: I don’t have love for Maya particularly.  (laughs) If I did, it’d be weird. (laughs)

Last issue during the conversation with Tatsurou and Maya, Tatsurou made this joke, “You really are a homo-band.”  

Aiji: That makes me even more uncomfortable! (laughs) How did they become the theme in the first place?

In the last issue Maya talked about his love for LM.C, so I think it’d be good if we have a related conversation.

Aiji: If I say “love”, it’d be a little weird because we’re a pair (laughs). In my case, I think love is honest and sincere. That’s how I feel about LM.C., especially when composing or recording music. No matter how much I want to sleep I work ‘til I faint. When it comes to a live, it’s fun and not that difficult. For me, composing is the hardest thing to do. Whether this music is really valuable to LM.C or not, is what I’m always thinking about. How hard I try is the depth of my love for LM.C. That’s the only way I can be honest in LM.C.

But, from my perspective, Maya as an artist and a person is very special to you.

Aiji: I’m not sure about “special.” Until now, I have played in various bands, right? Obviously, the distance between Maya and I is different from past bands. After I came to Tokyo with the previous band I was in, we were young and had a sense of rivalry with each other. (translators note: Aiji here implies there was a very strong sense of rivalry, though he doesn’t want to say it directly.) Of course, Maya has been singing for roughly 6 years, so I have I have a bit of a sense of rivalry with him, but we’re like brothers. He’s like my little brother.

Has it been like that since you met?

Aiji: No, the moment we met Maya wasn’t interested (in me) at all (laughs).

Did Maya have respect for you at the time?

Aiji: Honestly, I’m not sure (laughs). Well, Maya was a guitarist then, so his viewpoint might have been different. Back then, Maya didn’t compose music in Sinners, so he wasn’t in a position bring his identity into the band. I didn’t have any interest in him at the time. A roadie for PIERROT was a member in Sinners, so at the live he was the focus of my attention. At the time I didn’t accept people who didn’t write or compose music as artists.

That being the case, why did you start interacting?

Aiji: Actually, I don’t remember why. He just showed up at my house one day to play with me. When he came to Tokyo, the longest he stayed (at my house) was two weeks.

He was like a freeloader?

Aiji: Yeah kind of. At the shortest, it was 3 days.

So he just barged in without permission?

Aiji: No, I usually called him that same day and asked, “You wanna eat?” And he’d say, “Yeah I want to.” And then I’d say, “Then tonight you want dinner?” Then that guy would drive from Nagano to come. Because he’d go through the trouble of driving all the way here, he’d stay. We’d talk a lot of different things. We’d talk about artists we respected, “Like this music is interesting, right?” During those conversations, the distance between us got shorter.

Even though you’re both from Nagano, you’re the type who’s ok with staying strangers?

Aiji: Depends on the person. However, now I don’t want to give him shelter (laughs). He came to my house drinking (water) and spilled it, and didn’t apologize! He’s pretty rude (laughs). Last year, when we were recording Double Dragon, it had been a while since he’d been to my house. Even when he opens the door, he lets it crash into the wall, he’s not the type to apologize (laughs). Now when I look back on it, he was dangerous.

So if Maya makes a mistake he’ll play dumb like a cat?

Aiji: He spilled the water, he could have said, “Do you have tissues?” Before he does that, he takes out his phone and takes pictures of where it spilled (laughs). This guy, completely takes it as a joke.

But, didn’t that make you angry?

Aiji: Yeah it did. It was like watching an animal. He’s like cat.

Maybe he’s a cat rather than a little brother.

Aiji: When I started keeping a cat, I was reading a book for reference. Trying to train a cat was a waste, so it’s better not to leave things on the table you don’t want to be spilled (laughs). Getting along with Maya, is close to getting along with a cat.

(Laughs.) Was there a time when you gave him a warning?

Aiji: Yes I did. “Isn’t that strange?” But, “That’s ok.” It’s water spilling, it’s not like someone died (laughs).

As Maya keeps coming, you’re becoming more patient with him.

Aiji: Yeah maybe I am. But, we have a relationship where we can talk about anything. I’m grateful for that. After all, if the relationship is strained, it’s impossible to say what you’re thinking. Maybe because there are only 2 members, it affects our relationship. Because I’m the one who’s older, I have to play the leading role. I have to do more on some level. That’s different from my prior band.

To go back to the prior conversation, at the time Maya was staying, you thought about what you wanted to do together in the future. Was that the deciding factor?

Aiji: I’m pretty sure it was his lyrics. I still think if you’re an artist that doesn’t create anything, you shouldn’t be called an artist. Back then, Maya didn’t compose music, but his ideas were beyond those of others. His way of thinking was interesting.

His way of thinking itself is interesting.

Aiji: Yeah. Very pure. So, “If you really think those kinds of pure things, it would be good if you can tell others.” Is what I told him. “At any rate, it’s better to write music. If you’re not producing work no one will recognize you. It’s better to try, right?” Is what I said. Then, that guy brought the spark for our band.

What was the music then?

Aiji: It was Rock the LM.C, Loud_Mucker_Complex, and 88 in their first forms.

But, is Maya that pure?

Aiji: He hasn’t changed since then. Even now he’s very pure right?

“I love LM.C!” He came right out and said that, so I guess he is.

Aiji: Among other things, his positivity is a paper’s depth away from being silly (laughs). He’s always been like that. If that guy sings at a center a lot of girls get saved by his songs, I guess.

Did you empathize with Maya’s positivity or did you see him from more of a producer’s perspective?

Aiji: It was more empathy. After I listened to Maya talk I thought, “If I can live like that, that’d certainly be good.”

I see. From that point, you already begun to think he was adorable.

Aiji: Adorable….kind of? (laughs). Back then, I think Maya was in his early twenties, and even then he had that pureness about him. That amazed me. If things were a little different he’d just be weird (in the bad way) (laughs). I hope that if even one person can smile or have their spirit lifted by message Maya sends, then that would be lovely.

So Aiji, have you ever had a desire to make music like that?

Aiji: I was thinking I want to do that someday. When I was a teenager, I saw ZIGGY, THE BLUE HEARTS, and UNICORN; the positivity they had is the same as Maya’s lyrics. Someday, I want to go back to that positivity I felt and send it out in our music. So, when I started working with Maya, it was then I thought about going back to the source.

But Aiji, no one thinks you like that kind of music. If I had to guess, I would have said that you get your roots from really dark rock.

Aiji: Yeah. I like both sides. Even now, I like BUCK-TICK. But, the coolness of the dark-side I’ve gained enough of. Perhaps, that’s my specialty. I was comfortable with the darkness in today’s photo session. But, another root is from what I felt as a teenager. Back then, I received power from that music.  I thought, as a musician I’d like to play like this. With LM.C, that’s what I’m able to do now.

I see. I see. So, after that, did you give Maya advice on writing lyrics?

Aiji: Yeah I did. “Why don’t you compose music? If there’s something I can help with…” Is what I said. Never, did I imagine he’d write lyrics. The demo already had the lyrics and Maya was singing (laughs). The first time I listened, I didn’t think about the composition because his voice and lyrics were so good.

Even though his voice and lyrics were good, generally, you don’t make a guitarist a singer, if he hasn’t sung before, right? You must’ve thought that trait was appealing.

Aiji: Ah, but people already see me as an established guitarist, right? Is it interesting that someone like me, would work with a singer that has great skills and a career? That’s what I thought. I was wondering if my fans expected that. If that’s the case, I thought it would be a completely new concept. “This guy has never sung a song but, will you watch him improve with me?”

Challenging, right? Now, Maya is a pop star and you’re seeing that potential?

Aiji: No, honestly, I wasn’t sure until he stood on the stage. But actually before our debut, we’d made some compositions that we were confident in. Someday, his singing will improve, I thought. As we went on we’d begin to see our vision. So, in the meantime, we kept running towards something we could see. I was anticipating his improvement. I didn’t know about his potential, but regardless of the singing, if I don’t like the voice, it’s no good for me. For me, the voice is a switch for my creative urge.

So, Maya’s voice helps you make music?

Aiji: Yes. That’s what his voice is like to me. Charming voices are important.

Certainly, as you gain experience you’d become a skillful singer, but as for the voice as for the voice it’s something you’re born with.

Aiji: Yeah.  It’s like a finger print.

Well, although you had confidence in the voice and music, you didn’t know if you were going to make it?

Aiji: No, I thought we’d be ok. It was like a baseless confidence. I was hoping that he’d be able to sing the way he does now in 2 years, but it took 6. (laughs)

But in the interview from the previous issue he said, “Recently, I’ve become interested in signing.”

Aiji: (laughs) That should have come earlier. Regardless of the time that’s passed, we’re making something fresh.

Even though, he was growing slowly, you didn’t say anything to Maya?

Aiji: I didn’t say anything. There’s not many things you notice when people are pointing things out to the creative industry. Even I, if someone came right out and said, “You’re [guitar] playing is shabby.” I can’t understand what about my playing is shabby. I have to figure it out myself. At a live, you have to feel those frustrations.

But, Maya doesn’t seem like the type (laughs).

Aiji: But, a person standing at the center of the stage, even they are positive like Maya, feels pressure. During those times is when we notice ourselves.

But, always waiting, not everyone can do that.

Aiji: At the important points I told him. “Now that you’re standing on the stage, your [current] level isn’t good enough.” Is what I said.

You’ve always had faith in Maya’s ability until now, right?

Aiji: It’s not that I had faith in his ability, he had the ability. As he stood on the stage, I thought, “This guy has something.” For instance, something unexpected comes up at a live, that guy doesn’t take it as trouble. He can turn trouble into a favorable wind. Other vocalists want everything perfect, right? Unlike other vocalists, when trouble arises, his coping method and the way he carries himself, makes it feel more realistic.

Indeed.

Aiji: For instance, a visual kei vocalist, who’s trying to make the perfect worldview, when he experiences big trouble, first it breaks his heart. But in Maya’s case, he doesn’t ever not bounce back. I think it’s a Japanese singer thing, even though they have bright songs, they hide their introverted-ness.

“Tomorrow will be sunny.” Sings the pop star, in reality they’re singing what they want to hear, that’s their pattern.

Aiji: Right, right. There’s not a lot of people like Maya. The way he MC’s after trouble is genius. His positive way of thinking is authentic. Maya has no concept of failure (or trouble).

So, when he spilled the water at your house, he didn’t think it was a failure.

Aiji: Right, right. Perhaps he staged it (laughs).

Rather, he thought perhaps he could take a good photo.

Aiji: That’s right (laughs). He can take anything bad and make it good.

As expected, the more you talk, the more I feel your love for him (laughs).

Aiji: Not really, it’s not that I like him but…(laughs) …what is it? It’s like he’s family.

But, families fight don’t they? But you don’t get angry.

Aiji: It’s not limited to Maya, I just don’t get angry. I’m a pacifist by nature, I’ve never yelled. If you get angry at everything, you won’t solve anything. There person who’s like “Waaaah!” releasing his anger, that’s just showing his ego. It doesn’t make things better, it’s a just waste.

In that way, Maya is similar.

Aiji: That guy’s cold. He has no interest in people or things (laughs). “No interest,” sounds bad, but in his case, it’s not.

Gradually, he’s getting harder to understand (laughs).

Aiji: Yeah, he’s a real alien. Trying to understand him is pointless. Someone who’s able to live like that, to his age, is rare in this stressful world. It’s like an eternal pureness (laughs).

Peter Pan.

Aiji: Maya definitely has Peter Pan Syndrome (laughs). But, for someone like me, I think, “Isn’t that lonely?”

Why is that?

Aiji: Because you have an interest in people, you come to like someone. Emotional highs and lows are created and the distance between people closes. In beginning Maya will have an interest in something. When he’d come to my house to stay, he’d always ask questions. But, at some point he’d suddenly stop asking questions. “Oh, he’s lost interest.” (Laughs). So, somewhere there’s a boundary that once he reaches he’s satisfied. From there, if he can step into a deeper fellowship he’ll be mature as a person. As you get closer to people, you get hurt more, but that’s a beautiful thing. My stance on human relationships is opposite of Maya’s.

Aiji, do you want to have those deep associations?

Aiji:  I’d prefer it that way. The problem is not the number of people. It’s ok if it’s just a small amount, I’d like to have a life with those kind of people around me. So, Maya is Peter Pan. If he continues to be like that he’ll become the real thing.

Like Michael Jackson?

Aiji: I was also going to say that (laughs). Well, that’s cool. I don’t think you can hate that guy. He wouldn’t do something that everyone hates.

Being beloved is his attribute.

Aiji: Anyway, he has a life that is full of unexpected luck (laughs). An enormous amount of luck.

Lucky boy.

Aiji: I don’t want to call him “boy” (laughs). Lucky man.

But, he’s Peter Pan, so let’s call him “boy” for now.

Aiji: Then let’s say “Lucky Pan” (laughs)!

Hahaha. So let’s hear about LM.C now. Your latest single “Double Dragon” follows LM.C’s main path. From here, do you know in what direction you’ll be going?

Aiji: Musically?

Including how you present yourselves.

Aiji: I have a lot of dreams. I, personally, consider LM.C my life’s work. My life and my music life overlap. So, I have what I want to do and the things I should do for now. I present those to Maya, and if he’s pleased with it, we’ll do it. If it’s a No-go, we don’t do it. So now that Maya and I going on a different path, I want to do more standard Pop-rock. I want to compose music that has good songs and lyrics.

Do you mean that vocal and lyrics are the core of the music?

Aiji: It doesn’t need to be the center, but that’s where we want to put the emphasis. I want to compose music that meets society’s standards, not just LM.C’s standards. I think I want to master composition.

Since when have you been thinking about this?

Aiji: I’ve been thinking about up ‘til now, but I’m thinking about it more, it’s probably because of my age. I want to create compositions that when you listen you feel something in your heart. I’d want to go in that direction more than hard rock. Last year, while recording “Double Dragon” some music formed.

You told me that you want music that met society’s standards. Out of all unpublished music you made last year, does any of it meet that standard?

Aiji: Yes.

Your previous album, “Strong Pop”, had a strong electronic arrangement; but nostalgic standard rock and roll pieces were recorded too. But, what you’re saying is not the sound of this album.

Aiji: It’s not. With the pieces I’ve made up until “Strong Pop”, I’ve made every sound I want to make with LM.C. So, from now on I want to deliver the positive perspective that Maya and I had discussed. I want to make music that reflects our views. So, I’m not saying every song will have a standard melody, but as for me, I want to be the kind of person who can make those melodies.

I see. Because LM.C has become your life’s work, I think that’s why you’re changing.

Aiji: Right. I don’t know, but the world says I write good melodies. I want to give that my full attention and I want to pursue that perception.

Fans also expect that. So, they want you to write more compositions.

Aiji: I feel that way that also.

And then you have Maya listen to a new piece. Earlier, you said were going in a different direction, what was your buddy’s reaction?

Aiji: Um, I’m not sure. Maya only brings the compositions he wants to do. And then I say, “Now, you have to do this composition, I think it’s really interesting.” Then he says, “Let’s do it! If you think it’s good, then it would be better to do it, right?” Though he says that, if he’s not into it he doesn’t write lyrics (laughs).

(Laughs) That’s like him!

Aiji: Like I told you, there are two compositions that have been asleep for 3 years. That’s his way of trying to be nice. So what I want to write now is an A+ melody. Anyone who listens will be like, “Great!” After all that the trinity of melody, voice, and lyrics delivers people. Of course the arrangement is also important, but if I have to choose, I’d choose that over arrangement and sound.

You’re not thinking like if this riff is catchy.

Aiji: It’s nice to have a cool guitar riff, but that’s not the ultimate goal. I think when we’re old geezers we’ll have a good performance playing in the streets. When we’re singing in the street, a cool riff won’t be important.

The riff will be drowned out by the noise.

Aiji: Right, I want to make a song that will be passed down through the generations. If I have the talent to write compositions that reach lots of people then that’s what I want to work towards. For example, when we’re in our 60’s and 70’s, I want have the style of “Folk the LM.C” (laughs).

Maya said he just became interested in singing. If that’s the case, then it’s good timing that you want to master composition more.

Aiji: Right. Honestly, I’m not interested in acoustic guitar at all (laughs). That style might be good for me. Really, when it comes to a simple set up, the voice, lyrics, and melody are most important. More and more, I want to sharpen the music I make. Of course, uplifting music that gets everyone cheering is important for us now, but 20, 30 years from now it might not be.

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PART II Here.