Traduction en anglais de la dernière interview de NEMOPHILA à l’occasion de la sortie du nouveau single… très intéressante à lire :
(Copié depuis Reddit)
[YOUNG GUITAR] NEMOPHILA "Beautiful Days" Full Interview: "We Will Remain Ourselves"
**November 6, 2024, 17:00**
**Interview and Text by Yohsuke Hayakawa**
After facing the critical turning point of a member departure following their performance at the Nippon Budokan in February this year, NEMOPHILA has forged ahead in the music scene as a newly-formed four-member group. With relentless live performances and new releases, they’ve shown their resilience. And today, on November 6—the very day this article goes live—their latest single “Beautiful Days,” a ballad, drops! In this interview, the members talk in depth about this new song, as well as the recent singles they’ve released under the new lineup, like “G.O.D.” and “PROGRESS,” the current state of the band, and a heartfelt message to their fans.
**YG: It’s been about six months since you began performing with the new lineup. Have you noticed any changes since the early days?**
**Mayu**: I think we’re more unified as a band. Each member’s vision and sound preferences have come together, making us feel even stronger as a group.
**YG: Of course, the major change was going from a twin-guitar setup to a single-guitar one. How did you initially feel about that?**
**Hazuki**: It was definitely a big shift, and it took some time for my mind to catch up with the change. Initially, it was a bit confusing. Now, I think I’m finally adjusting. We’ve even re-arranged some of our songs to make them work with a single guitar, but I felt that just combining two guitar parts into one wouldn’t make the most of being a four-member band. We each started exploring new ways to enhance the music—like asking Hara-chan (bass) to take a solo or suggesting specific styles to Tamu-san on the drums. Having everyone’s support really helped to solidify our new style. Mayu is even playing guitar on some songs now!
**Mayu**: Yes, I’m working on the rhythm parts.
**Hazuki**: Also, we’ve re-evaluated our use of synchronized backing tracks, and the end result is a cleaner, refreshed sound. It’s been exciting.
**YG: So, while you’re preserving what worked before, you’re not limiting yourselves to it.**
**Mayu**: Exactly. The music we’ve created is part of our experience, and our love for intense sounds hasn’t changed. So we don’t feel the need to drastically shift our style.
**YG: That must be good news for your longtime fans.**
**Mayu**: Yes, I think so! We always wanted to take full advantage of being a four-member band. So we’re moving forward while holding on to our unique sound and individuality. Over the past six months, each member’s identity has only strengthened. Working together like this makes me realize how each of us brings a unique perspective to NEMOPHILA.
**YG: So it’s like each member’s individual style now shines through even more.**
**Mayu**: Yes, exactly! In that kind of atmosphere, creating music becomes much more engaging. We could probably get away with some brawling now and then if we wanted (laughs).
**YG: Let’s not get carried away (laughs).**
**Mayu**: But really, everyone is such a kind-hearted person, so we work things out peacefully (laughs).
**Hazuki**: If there was any fighting, that would probably be the end of it (laughs).
**Tamu Murata**: Only one person would end up causing a scene (laughs).
**Haraguchi-san**: (laughs).
**Hazuki**: When we’re writing songs, each person’s unique style comes out more than before. Before, our producer Kensuke Akiyama—a guitarist himself—centered our compositions around guitar riffs. Now, the songs we’re working on are a lot more individual. It’s like you can instantly tell who created each song just by listening.
**Mayu**: For example, Tamu-san sometimes brings in phrases that I’d never think of. It’s fascinating to see her approach!
**Haraguchi-san**: Very drummer-like, indeed.
**YG: Judging by her expression, Tamu-san doesn’t seem too aware of that (laughs).**
**Tamu Murata**: Not really (laughs). I do my best to write “NEMOPHILA-like” songs, but I’m often told, “Oh, this is so Tamu-san!” (laughs).
**Mayu**: She creates these unique soundscapes, which adds such a cool element to our music, but she also tends to challenge herself with really difficult phrases.
**Tamu Murata**: Drums?
**Mayu**: Yes! Sometimes when I suggest a part, she’ll respond with something like “brrrrrrrrrr!” (laughs).
**Hazuki**: That’s definitely true (laughs).
**Tamu Murata**: Really? I do that?
**YG: It’s like a reversal phenomenon where the technicality increases when a human drummer plays. The launch of your first solo tour with the current lineup,** ***NEMOPHILA One-Man Tour 2024 “Full Speed Ahead – If You Want to Bloom, Step Up”*****, was also a major milestone, wasn’t it?**
**Mayu**: Since we named the tour *“Full Speed Ahead,”* I’m sure everyone who came to see us shared that feeling. It was also our first solo tour as a four-member band, so I think a lot of people attended with various emotions. We didn’t want anyone to walk away thinking, “The old lineup was better.” So, on stage and in everything we expressed, we were focused on highlighting areas where we could show something even better than before, creating a clear distinction. As the vocalist, I felt I could leave the upper and lower stage areas to Hazuki and Haraguchi-san… but I wonder how everyone else felt about it?
**Hazuki**: About the upper and lower sides of the stage—now, Haraguchi-san isn’t right next to me. I’m like, “Haraguchi-san, you’re so far away!” The physical distance feels really far, so I sometimes wish I could put a little mascot of Haraguchi-san right here (points to the spot next to her) to keep her close (laughs).
**YG: A mascot!**
**Hazuki**: Yes, exactly (laughs). Changing my stage position from the lower side to the upper side was a big shift. My entire perspective and where I stand have changed, so it almost feels like I’m back to the very beginning of starting a band. Out of habit, I even started setting up on the lower side (laughs).
**YG: (laughs) Haraguchi-san, what did you think of this tour?**
**Haraguchi-san**: Hmm… it felt very *aggressive*. I’d say it became more emotional. Now that we’re a four-member band, I felt like each member’s sense of responsibility toward the band—both in terms of the music and as individuals—had increased. Everyone was sweating during the performances, but it almost seemed to sparkle (laughs).
**Hazuki**: So, you’re saying we weren’t shining before?
**Haraguchi-san**: No, we were shining before too, but the sweat used to look strangely clean… Now, it feels like it’s seeping out from deep within us.
**YG: So, it’s like a more passionate image—sweat that symbolizes “blood, sweat, and tears”?**
**Haraguchi-san**: Exactly, that’s the feeling. It’s a more natural, non-chemical kind of sweat. And it applies to more than just the sweat; it’s present in everything, which gets me even more fired up.
**YG**: And what about you, Tamu-san?
**Murata Tamu**: When we did our first live as a four-member band in May this year at WildSide Tokyo in Shinjuku, Mayu shared something with the audience… something like, “We’re going to keep pushing forward as the four of us.” So, I assumed all the fans already knew about it. But during the final show of this tour (provisional), Mayu gave another great MC, and I really felt the impact it had. I realized that only the people at WildSide had actually heard our feelings back then, so maybe we hadn’t properly conveyed it to everyone else. It was meaningful to see so many people learn for the first time that we’re committed to moving forward as these four.
**"The first song of the new lineup being "G.O.D." was the right choice"**
**YG: Now, I’d like to ask about the new songs released under the new lineup, starting with "G.O.D." (released in July). I felt the driving parts expressed that raw energy typical of NEMOPHILA while also integrating the current NEMOPHILA style.**
**Mayu**: I came up with the original idea for the song, but we built it by asking each member how they wanted to approach their parts. Initially, we were planning to release "PROGRESS" first, but as we worked on it, we decided it would be better to release "G.O.D." first, as a kind of declaration of our resolve. So, we changed the release order. The change in sound producer also altered the tone a bit, but the intensity, passion, and technical aspects like the shouts stayed consistent. However, since we focused more on the overall groove rather than a guitar solo, I wondered how everyone felt about a song without a solo as a declaration piece. I wanted to include a breakdown to convey the full force of the band’s impact.
**YG: And that approach changes depending on the song.**
**Mayu**: Yes. Up until now, almost every song had a guitar solo, but with this new lineup, we wanted to explore songs like this, so having "G.O.D." as the first track was a good choice.
**Hazuki**: Right. Plus, we’re doing what we want to do. If there’s space for a guitar solo, we’ll include it, but with this song’s vibe, I thought it didn’t really need one.
**Mayu**: Also, we aimed for something a bit classic, with a metalcore feel. I realized we didn’t really have a song that screamed "classic NEMOPHILA!" so I thought having one wouldn’t hurt. We created it with a focus on linking it to the NEMOPHILA sound.
**YG: Then with "PROGRESS" (released in September), it feels more modern and intense, with a futuristic touch thanks to the synths. It also seems like a high-energy song from a drummer’s perspective.**
**Hazuki**: But this drum pattern was actually Tamu-san’s own creation (laughs).
**Murata Tamu**: I did come up with it, but Hico-san also contributed to the rearrangement. The intro and other parts have Hico-san’s essence. Since Hico-san became our sound producer, I feel the overall impression of the drums has changed quite a bit, which raised the bar for me.
**YG: Do others also feel a change from Hico-san’s involvement?**
**Hazuki**: Yes, I’d say so. I tend to pack a lot into my parts, so initially, there were more guitar notes in "PROGRESS." Even the melody changed a bit, right? If I’m all about adding, it’s almost like multiplying (laughs). Meanwhile, Hico-san is more about subtraction, so I think we found a nice balance in the middle. We made this song at the stage of creating for the first time as a four-member group, and for the chorus, I wanted a more open feeling. I wasn’t aiming for a dark, intense riff-driven track, so the final version is close to my original image. For the part that is now 2B, I initially thought of making it a bit more playful, but with Hico-san’s arrangement, it got a stylish vibe.
**YG: There’s a mechanical taste in the instrumental sections, while the vocals cut through with a certain cuteness, and that contrast is great.**
**Hazuki**: Yes, the tone in the chorus is pretty cute.
**Mayu**: That’s right. Like Hazukin (Hazuki) said, since I could sing over an open chorus, I felt like the tone that felt most comfortable might have been the cute one. With this key, the mood of the song, and the words, everything was so bright that I enjoyed singing in that bright tone. It was a choice I made, but the change in producer might have had the biggest impact on me. Hico-san does vocal direction and even does choruses and plays the piano. Plus, he speaks English, so he’s particular about pronunciation. But he’s also attentive to nuances, not just asking for precise singing; he encourages emotional expression. Sometimes he’d say, "Don’t worry about that detail, just sing with more emotion," even when I wasn’t sure if the take was good. He’d say, "We might never capture that again," and I loved that he valued those aspects, understanding vocal nuances so well.
**YG: Did you consider the single-guitar format when structuring the guitar solo?**
**Hazuki**: I was a bit unsure about how to shape the guitar solo, but Hico-san gave me a lot of ideas, and I played based on that. Playing a solo while there’s a sing-along in the background is pretty rare, but it’s nice to play while listening to everyone’s voices.
**Mayu**: Sometimes I get carried away by Hazukin’s guitar phrases.
**Hazuki**: I totally get that (laughs).
**YG: It’s a melodious guitar solo, and compact for a NEMOPHILA piece.**
**Hazuki**: Yes, it’s fairly melodic with some long tones. Before, with two guitars, we often passed solos back and forth in a twin arrangement. But now, with just me, I could do a 32-bar solo, but that would be too long, so I kept it at a memorable length.
**YG: It’s already been performed live and stands out as a great hook in the setlist.**
**Haraguchi-san**: Yes, it brings a freshness we haven’t seen in NEMOPHILA before, so I’m constantly thinking about how to get the crowd excited. During Hazuki-san’s guitar solo, there’s a “Woh~” chorus, and I try to make sure the audience watches her solo. Sometimes I even sing “Woh~” facing Hazuki-san.
**Hazuki**: You’re watching me (laughs).
**Haraguchi-san**: Yes (laughs). Plus, it’s a challenging song.
**Hazuki**: Well, (the bass) has guitar-like phrases, right? I thought, “Sorry, it must be tough on bass. But Hara-chan can handle it!”
**Haraguchi-san**: During the recording of "G.O.D.," Hico-san gave precise guidance on things like left-hand movement, right-hand muting timing, and nuances of sound. There were many details about aligning with the guitar, so with "PROGRESS," I’m playing while keeping all that in mind. Since Hazuki-san is the main composer, her natural playing style comes through.
**Hazuki**: There are specific things like bend timing, using slides, or only pull-offs in certain places… sorry about that (laughs).
**Haraguchi-san**: No worries (laughs). I learned a lot.
**YG: The latest single,** ***"Beautiful days,"*** **seems poised to join the ranks of NEMOPHILA's iconic ballads, evoking deep emotions in live performances.**
**mayu:** I conceptualized this piece, and although we’ve done several ballads like *"Life,"* *"YELL ????,"* and *"now I here,"* my goal this time was different. I always felt *"now I here"* had a stylish, polished vibe—a beautifully refined rock ballad. With *"Beautiful days,"* I wanted a simpler, more straightforward band sound. The lyrics, inspired by my child, convey a theme of “great love,” but listeners can connect it to anyone significant in their lives. My child is currently two—the adorable age people say doesn’t last. Knowing this phase is fleeting, I felt a strong urge to capture this moment in song.
**Murata Tamu (drummer):** That's so touching!
**mayu:** Thanks! I’ve always wanted to write a song for my child. When I shared the idea with the band, they fully supported it, so I felt encouraged to proceed. Musically, I hoped for raw expression rather than polish—a rock ballad with rugged honesty. I aimed for an intense, almost frantic feel while still conveying warmth and tenderness.
**YG: Did you communicate your vision to the other members?**
**mayu:** Not explicitly. I trusted the band’s natural energy and passion to come through live. This way, their genuine color would shine without over-directing them.
**YG: How did the other members receive the song?**
**Hazuki (guitarist):** Listening to it, even before the lyrics were added, I sensed it was going to be something special. I’ve always loved metal and hard rock ballads, and the lyrics resonated with me in a way that made me feel a motherly warmth, even though I don’t have kids. During recording, I wanted the intro with only guitar and vocals to set a loving, embracing tone.
**YG: The sound is dynamic with distinct guitar ensembles in each channel.**
**Hazuki:** Yes, I chose a different guitar with single-coil pickups to get softer tones on one side and a brighter sound on the other.
**YG: How did you perceive Haraguchi-san as a song and approach its performance?**
**Haraguchi-san**: To me, it was a rock ballad that was different. I thought it was really good from the demo stage, but Mayu-chan said, "It's very meaningful to release this song at this timing." I personally love bands and songs that give you a sense of the person's life and way of living, and when I heard Mayu-chan's words, I thought it was that kind of song. At that point, I didn't know specifically that the theme was the love between mother and child. Also, there are men among the listeners, so I would like to present it in a way that they can still empathize with.
**Murata Tamu**: In my case, the lyrics came to me in outline before recording the drums. However, at that time, it was not clearly about the love between parent and child, but about love in a broader sense, so it was easy to imagine. When I was thinking about what kind of nuance I should use to play the song, or what love is inside me, I thought of my child. I think that if you cherish or love someone too much, it can turn into something like sadness, and I think that is a really big emotion. By playing the drums while feeling such big emotions, I was able to play with power. We also shot a music video recently, and even though it was lip-sync, when I played it with the other members, I felt like we all shared the emotion, and I want to do it live soon.
**mayu**: That's exactly what I wanted: for people to feel what the song is about and perform it with raw emotion, without worrying about the rhythm being off or about clicks or whatever.
**YG**: **So it just naturally went in that direction without any explanation. At the moment, the new NEMOPHILA has released three songs, and although the band's form has changed, I want people to listen to them without any preconceptions**.
**mayu**: Yes. Of course, it's fine for everyone to have an image of NEMOPHILA, and I'm happy about that. However, we have a clear idea of ??what we want to become in the future. This also applies to the atmosphere of our live shows. As for the sound, it's difficult to reproduce twin guitars because we've lost one person physically, so it's not like we can just play a recording. What we're looking for now is to do what we want to do as much as possible with the four of us. However, we are who we are, and we don't think anything will change from now on. There may be people who leave us, but we won't ignore that, and if we release another album and those people listen to it and think it's good, we'll say, "Come again!"
**YG: So, the door is always wide open, right? Finally, will mayu be playing more guitar in the future?**
**mayu**: I plan to play guitar live for "Beautiful days," and if adding rhythm guitar in new songs enhances the band’s vibe, I’m all for it.
**Hazuki**: Yeah, you’re doing a bit of twin-guitar stuff now too, right?
**mayu**: I'm even thinking of trying a song where I can play a short solo…
**Hazuki**: Like tapping and stuff.
**mayu**: Yes, working on it. Though I feel a bit left behind sometimes (laughs).
**YG: By the way, why did you choose a Les Paul?**
**mayu**: For me, it’s like guitar = Gibson, Les Paul. But I always thought only people who can really play should have a Les Paul, so I kind of avoided it (laughs). Then, I got the chance to try one, and though I was thinking, “Is this okay?” I’m still using it. I feel like I’m playing it a bit too high, but if you’re going to play a Les Paul, you should probably go lower. Right now, I'm focusing on getting comfortable with it. And as for the color of the body (Ocean Blue), when they showed me a bunch of models, I just couldn’t take my eyes off that one—I decided on it right away!
[https://youngguitar.jp/interviews/nemophila-beautiful-days-2024](https://youngguitar.jp/interviews/nemophila-beautiful-days-2024)
