Nothing is impossible!
...этому посту явно не везет...прошло уже почти полгода, как я его собираюсь опубликовать и все время что-то мешает... правда помех эти исключительно положительного качества...
6 июня 2011 года в отели Челси (Shibuya) Der Zibet и Ra:IN дали совместный концерт Rock’n'Roll Vaudeville 2011...
Судя по лайв-отчетам, это был замечательный концерт...
Как всегда, прекрасный отчет от Rika опубликован на Facttraction: entertainment japan.
Там же размещена и большая фотогалерея этого неординарного события.
Этот отчет в большей степени посвящен зибетовской части концерта.
DerZibet @, Rock'n Roll Vaudeville 2011DerZibet @ Shibuya Chelsea Hotel, Rock'n Roll Vaudeville 2011
Written by: Rika; Edited by: Ina, Nataly
Chelsea, or rather, *Rock'n Roll Vaudeville 2011* at Shibuya Chelsea Hotel, to give it its full, correct, official title - I tend to think of lives just by, sometimes the short form, of a venue's name - is, so far, the strangest live I've seen *DerZibet* at, for me personally.
Not that they were particularly strange - or make that, of course they were strange, since they always are, in the unique, exceptional, in the best sense of the word strangeness that is their trademark, that makes them captivating - what was strange for me was the particular combination of the bands at that two-men live: *DerZibet* with *Ra:IN*.
Two bands that at first glance - and even fifth, sixth and seventh - don't really have much, if anything, in common, not in music, not in general style. Nothing aside from, I guess, both doing what they like, because they like it. Uncompromising, staying true to themselves. Which in itself makes them outstanding in this day and age.
Even if that combination is and will probably forever stay strange for me. And I know I'm repeating myself, but that word - strange - is one of a few stuck in my mind to describe the night.
I guess I could add that *DerZibet* actually fit that by starting the live strangely, diverting from the practice of the last year or so, by opening the night with an SE different from the *Nostaligic Future* one they have used recently.
My first thought on that - A new one? A teasing hint at their new album maybe? (I am really curious about that) - unfortunately turned out to be incorrect, though it proved to be an unusual one after all. One that according to *HIKARU*, whom I asked about that later on, they had written in 2008, shortly after their reunion, but then played only a few times. That he decided to use this time after he had come across it again by chance, and liked it again.
*HIKARU*, if one of my asides might be permitted, I have come to think, has the most interesting chance encounters with old work of theirs, that then results in interesting new things. Something I have to say I envy him, though actually mostly for the things he at times came across that probably no one but him and the other members will ever see (again).
Back to the live, their performance started rather normally - or as normal as it gets with them - in a pleasingly fun and familiar way, exactly like *Kaikoteki Mirai - Nostalgic Future*, as well, with *Lunatic Dancing*.
Which is still now as much as way back when always a crowd pleaser, something fun to - lunatically or not - dance to. Glorious fun to watch as well as they themselves seem hell bent on proving - and actually easily succeeding - that they definitely can still play as - dare I say it? - lunatically as they used to those days just after their debut. As excitingly, crazily.
A craziness that goes on - still following *Kaikoteki Mirai - Nostalgic Future* - with *Girls*, like *Lunatic Dancing* in a different arrangement than in the old days, but for all the differences familiar. Not just because I've by now heard it plenty of times at lives and the CD, but simply because it's still their style.
As is the next title that follows, a new one, still with a female - kind of - protagonist, flamboyant *Upper Queen*.
A flamboyance that applies equally or more to *ISSAY* on stage, in what I think of as one of his "more mime" songs - according to him, all his stage movement is mime based; for myself, there are some songs, like *Upper Queen*, with others such as *Der Rhein* or *Masquerade*, where it shows more - in both performanance and appearance stunning enough to easily outshine the fictious hero(ine?) of the story. As well, I think, anyone who might in reality live in that particular Demi Mode part of Tokyo that might have denizens as featured in the song.
More real than the song, the "imitation flower" or fake jewles scattered around in the lyrics, is their performance, *ISSAY*'s again escalated, in comparison to when I saw him last, acting, hard to adequately put in words - the way he uses both gestures as well as his costume to convey meaning beyond words - but again, creating a special reality for those watching.
What is rather special, I think, too, is *ISSAY*'s unique, sometimes quirky sense of humour, which he displays during the first encore of the evening, after that starts normally enough with the usually "*Good evening, it's Der Zibet*," followed by a "*Please have fun until the end*."
Less normal is his - very complimentary - comment about *Ra:IN* after that, a play on both words and sound/pronounciation of words, that works perfectly in Japanese, in a very fun way, and is absolutely impossible to translate to the same effect. (Approximately close, that is, about as close as Andromeda is to our galaxy, what he said was: "*Ra:IN is a totally amazing band - so I/we aim to amaze as well, tonight.*" Which, of course, isn't anywhere close to Japanese in both wording or impact. Some things, in particular jokes or wordplay, I guess simply can't be translated, not for all the headaches in the world.)
Not that he gave me a headache then, the next song - *Vanessa no Joudou*, announced even, at the end of the MC - actually made me laugh. Not because the lyrics are funny - *ISSAY*'s aren't - but for the fact that he actually told me where the idea for that song came from. Right after that is - which is the part that makes it funny for me - he told me, rather emphatically, that he does *not* want to talk about that topic, what ideas or memories or whatever else are behind a song, with anyone, ever. Then told me anyhow. (Though I guess he might have minded less than usual since, as he also said, he had already told *HIKARU*...)
In a break of pace, a by then very welcome short cool down, comes *Love Song*. Less intense as far as music is concerned, I think it is one anyone who actually listens to - or reads - the lyrics might easily end up wishing it were a song written "for me," for the feelings expressed.
More intense it gets again with *Der Rhein*, which comes with another surprise: if memory serves correctly, for the first time since I've started covering them, *ISSAY* using his mask during that. A performance different obviously from *Masquerade* - where he usually uses it, however, *Masquerade* wasn't on the set list at Chelsea - but equally intriguing. Somehow fitting the song as well, definitely fitting the atmosphere of the night, the idea of Vaudeville.
After that came a completely different surprise, fun definitely for the fans but I'm sure less so for them on stage, when, due to technical problems *MAHITO* encountered, *ISSAY* and *HIKARU* were forced into the longest talking session I've ever seen them do on stage.
Which *ISSAY* started not so unusually with a "*thank you. It's been a while we've done a live, so I'm happy (we're doing one) tonight.
*" That took an unexpected turn with his addition of "*That uncle* - ojichan, in Japanese, a rather not very flattering term for middle aged men - *over there seems to have some problems.
*" Then, when a few moments of staring at "uncle" *MAHITO* didn't have any noticable results, "*Last year, we released our 2nd album since our reunion. Did you listen to it? The year before that - wasn't it?*" interrupting himself at this to give *HIKARU* a questioning look, "*we released the album before that, Primitive...
*" Which *HIKARU*, to much laughter, answered with a "*Was it [then]?*"
Followed by *ISSAY*, to even more laughter: "*At least that's what I think... lately, it seems I'm getting forgetful at times...
*" To which *HIKARU* still wasn't any great help, commenting that "*There's no use asking me. My memory is even worse.*"
*ISSAY*, at least, seemed a tiny bit embarrassed, as expressed by a certain kind of laugh with "*neither of us remembers...*"
*HIKARU* isn't that easily embarrassed, he went fact finding instead - or at least tried to: "*So when was that? Two years ago? Three years?*"
Though then answered a "go nen" - five years - shout from the audience with a "*no, it's not been that long.*" (For the record, according to their official site, it was released March 6th, 2009.)
In a way *ISSAY* then proceeded to dissolve the *Primitive* release data dilemma - in a kind of King Alexander style, who simply cut the knot when he couldn't unfasten it otherwise - with the suggestion that "*it was January 1st this year, wasn't it?*" (Rather, if it doesn't work any other way, I'll make it work my way.)
*HIKARU*: "*This year?*"
*ISSAY*: "*Isn't that right?*"
Then, "*Anyhow, the DVD from the tour for that album is on sale tonight, so if you don't have it yet, buy it.*"
Added, rather as an order: "*Make DerZibet happen!*" (That, actually, again is a less than great translation into English, it was a comment that was funny in Japanese, the way he delivered it and greeted with another bout of laughter from the audience.)
More laid back *HIKARU* toned that down a bit with a laughing "*You're too demanding*," to *ISSAY*, then to the fans, "*well, if you'd like to help us...*"
That was followed by a pause, with them both staring at *MAHITO* - who by then even had summoned help, but still wasn't any closer to a solution - ended by *ISSAY* saying "*Looks as if uncle still has problem...*"
*HIKARU* adding "*that drunk uncle...*" (though if *MAHITO* was, it actually didn't show...)
*ISSAY*, maybe in one of his "itazura" moods, "*well, he messes up something every live. Okay, maybe not /every/ live. More like one out of three.*"
Another pause, then *HIKARU* taking up the talk: "*So we're playing with Ra:IN tonight. They're really good. And of course they have more fans. Anyhow, we're going to do a session together later.*"
Another pause.
Then *HIKARU* again, to the fans "*How about you say something?*"
That answered by probably the loudest laughter of all, he explained that "*we usually don't talk this much!*"
Backed up by *ISSAY* with "*Really we don't. Oh, we'll be playing at another event at Citta Kawasaki, on August 19th.*"
*HIKARU* adding to that "*that likely will be our last live this year.*"
Explaining after a disappointed "Eh!!!!" from the audience that "*We're trying our best... we want to do lives, but we also want to release a new album...*"
The album, I guess being what *ISSAY* calls a "secret project we are engaging in." (If that's NOT the album, I want to know what it is!)
Another pause after that, with both of them turning to *MAHITO* again - there is, actually, an *ISSAY* shot of just that in the gallery that I think is beautiful - *HIKARU* asking "so how are things going over there?"
As no progress report was forthcoming, then "*he's strange even when he isn't drunk... when he's drunk he's even stranger...*"
Followed by another pause, then a double appeal to the fans from *HIKARU* with "*So maybe give us a topic?*" and *ISSAY*, "*we might be able to talk about that if you do.*"
To which some fan took mercy on them and shouted back something like "recording."
Which actually lead to some comments, first just again that they want to release it before the end of the year, then *HIKARU* saying "*we've been working on it since March... there are about 30 songs. Well, only one of them is any good, so far.*"
Then *ISSAY*, "*Well, maybe a little more than that, but still...*"
*HIKARU* again, "*Actually, it's really fun/interesting, this time. Really. I want to show off an even more "maniac" ISSAY, so we've been trying a lot of things... *" ("Maniac" - not a term, that is not an adjective in English language, is *HIKARU*'s and to some extent *ISSAY*'s term to refer to their own kind of unusual, exceptional, driven craziness. Implying, all those and more and, I guess, just something to accept as "*DerZibet* English." Which I guess makes them creatively exceptional even in English. The Oxford Advanced Learner's Dictionary of English Language likely would disagree. I like it, though.)
At that point - maybe anticipating what *HIKARU* was up to? - *ISSAY* interrupting with "*ah, our uncle still isn't ready...*"
*HIKARU* stuck to his topic though: "*well, tried several things, including pop, glam... you know, something that goes with those looks...*"
Pausing for dramatic effect, he then finished that - to even more laugher from the audience - with "*so, it came out all very GLAM!*" Which, of course, fits *ISSAY*, though he rather looked as if not sure whether to be pleased or embarrassed, but conceeded the point by saying that yes, indeed, "*lots of the songs are very Glam style.*"
Admitted, not that that was any news for people who know him, "*but then, I used to love Glam when that was around.*"
By then, finally, *MAHITO* had decided that whatever wasn't working wouldn't improve so he gave a go on sign, which both *HIKARU* and *ISSAY* answered with several "are you sure?" though after several nods from *MAHITO*, *ISSAY* decided to proceed with an announcement that only a Japanese, maybe only him, could produce in form of a "*Let's go ka*." (Ka being the Japanese equivalent of a question mark.)
The next song I personally thought rather timely after that, since as obviously they didn't have a prayer against technical failure, at least they got the chance to take the edge of their frustrations with edgy *PRAYER* following once *MAHITO* declared whatever device was malfunctioning dead and they went on to resurrect the live.
In that, also semi solos again, that I've come to love, *HIKARU* crazy on guitar and in fact whatever had died on *MAHITO* not limiting the fun - at least not for fans - in any way.
*MAHITO* himself I guess might have been frustrated, he wasn't his usual self after the live, actually. Though, as far as I am concerned, that is just "live." And life. Things happen, wanted or not. Perfection in general NOT happening. And *PRAYER* - and all that came after that - was just fine as it was.
Fitting life as it is currently in Japan is the next song, one that I'm sure the Japanese government - which via the Ministry of Economy, Trade and Industry recently has "advised" businesses, with the exemption of small businesses (and private households) to cut year to date electricty consumption by 15% - would very much approve, since its theme is to "switch of the light" - *Akari wo kesshite* - which indeed would save energy even if it doesn't *ISSAY*'s. Or *HIKARU*'s or the others'.
Or, come to think of that, the fans'. Maybe, come to think of it, if someone could find a way to gather the energy outpour from fans, live houses could be run on that? (That is, there have been ideas here of gaining energy from people in mass just walking over certain areas, like in big stations and if that would work, I think fans going wild in live houses should work maybe even better.)
Then again, just like they did on stage, Tokyo population I think will have to *TOUGH* it out these *Summer Days* - they didn't do that, even though it's on the same album as *Tough* and *Akari wo kesshite* - though at least this year we'll have the excuse of less air conditioning in Tokyo's infernal summer heat and humidity if we go *Homo Demens*.
Though, just keeping a part of the lyrics of *TOUGH* in mind might help, too: "*Baby, it's all right, hitorikiri demo ii, tough he ikiyou.*" (The Japanese part: "it's okay if you're on your own, let's live tough.") Good advice, I'd say, and definitely better than panicking over things that can't be helped.
It's another MC after that, back to normal *ISSAY* brief - and he the one who looks most pleased or relieved about that, which made me chuckle a bit - just a reminder of their next appearance combined with thank yous and all the things that come towards the end of a live.
Craziness though still continues, with *Shinkaigyou* - Deep Sea Fish, again from *Homo Demens*; I guess my getting stuck on "crazy" really fit the night. As does the song, a title that makes me wonder where that comes from, though I guess it fits with the weirdness of Vaudeville; actually, that now makes me wish *DerZibet* could play *FREAK SHOW*, that would fit this night, too. (*FREAK SHOW*, FYI, is a song by *PHI*, *ISSAY*'s then collaboration with *44MAGNUM* *Satoshi "Jimmy" Hirose*, while *DerZibet* was on hiatus. Lyrics by *ISSAY*, music by "*Jimmy*." But a song I think would suit *DerZibet* as well.)
What they play next, with all the intrumental fun that comes with that, the introductions of the members - I still have to find out by what criteria *ISSAY* decides whether to make introductions or not - is *The Night of the Mammoth*. Mammoth in "moriagari," the excitement in the audience, as well - energy from the air, if harnessable, I'm sure by then could have powered the live house - which takes over to the last, and actually also very fitting last title of their stage, *Heat Island no Hakuchumu* - Heat Island Daydream.
THAT certainly fits Tokyo of these days, even if these days Tokyo isn't as manga and novels "kinmirai" - near future - dystopian distorted as actually *ISSAY*'s lyrics are. For me, fascinating in that. Playing on ideas, possibilities, 'might be's...
'Might be's that I hope will be explored in their next album, that I look very much forward to, but no more that night, as they go off stage to let *Ra:IN* take over.
*Ra:IN* taking over is, actually, a bit of "shut down" time for me, as I didn't ask to report on them, as well - I thought of asking *HIKARU* to arrange it, but then things that couldn't be avoided or postponed came in the way so I never did - which is in a different way nice because it allows me to get reacquainted with them, after not having heard them since, I think, 2007.
Then, at a year end live I was invited to via a then *PATA* connection, and ended up at their uchiage as well. (No comments on that, aside from that is was fun.)
Their music, I have to admit, for me needs getting used to, in particular the fact that there is no vocalist, no lyrics - by and large, and if *DIE* and/or *michiaki* sing, it's usually overlaid by music, not very audible. (*PATA*, of course, doesn't sing. Though in *Ra:IN*, unlike *X*, he might talk on stage. BRIEFLY. He did once, that night, about that when it happened.)
That aside, as I said before, what I like about them is "doing our own thing," their authenticity. Music that is maybe *ISSAY*'s Hakuchumu put in a different form, distorting, intriguing, challenging.
And fun.
As were some moments on stage, first, *michiaki* opening their stage, after their first song, *Circle*, with "*Hello Tokyo!*"
I'm not sure if that's because - as it seems - he's located in Yokohama, not Tokyo, or because he's gotten used to greetings like that from their long European tour in 2009. (The latter I'd like to think, I think theirs was one of the longest tours any Japanese band has done in Europe.)
Talking about Europe, *michiaki* in a later MC also mentioned that *PATA* had to go on a flight over there, to London, first thing next morning, adding "*but he said that maybe he'll just go on the flight drinking all night* (at the after live party - Ed) *without any sleep at all!*"
Which *PATA*, in his only audible comment of the night, on stage, answered with "*Anta ha watashi no Twitter ja nai*" - "You aren't my twitter" - which made everybody nearly fall over laughing. Both, I think, at *PATA*'s superdry delivery of that line, as well as the image of *PATA* and Twitter, as the only connection ever between those two can be "not."
More talk - most talk, though little enough - during their live came from *Tetsu*, who seems to be their "social spokesman" and also took over for the first part of the encore.
The encore, actually was only one, but one great fun song.
*20th Centruy Boy*, of course. What else?
And can I have that toy? I'll treasure it.
Pardon that. Or rather, consider it tongue in cheek. Though really, I wouldn't consider it a great sacrifice having to take care of it. Though I guess I'll stop at this - seems THEIR flippant mood affected me. Not that I'm complaining.
Essentially, I guess I feel that like in a session, in a report about a session, anything goes. Anyhow, before the song, *Tetsu* opened the encore, coming on stage with the *DerZibet* *Primitive* DVD and talking a bit about that, then one by one summoning the members - except *HAL*, I think for obvious reasons - on stage, starting with *HIKARU*.
The latter telling the fans that actually, he and *Tetsu* had worked together on several projects, but *Tetsu* always failed to remember him - for which *Tetsu*, comically in behaviour but otherwise more seriously bowed apologies, then both of them laughing - before he yielded his place to *MAHITO*, who it turned out had also worked with *Tetsu* before, and *MAYUMI*, that a first meeting.
*ISSAY* was the next/last to be called onto stage.
Left there alone center stage - almost, *HIKARU* was just a bit to his left, or right, as you look at the stage - saying "*maji?*" "*maji?*" (something like, "ehhhh???" or in longer form, "are you serious?") two or three times after *Tetsu* announced he would "*leave the microphone to ISSAY now, until we play.*" and went offstage.
Which of course fans loved just as much as the earlier unexpected long talk.
Even if *ISSAY* didn't, "complaining" that "*they aren't coming out on stage!*" even after telling them to. Turning to talk to *HIKARU* instead, enlisting his help and eventually getting everybody back there - which was, really, very strange but very fun, too.
Something special - really something to remember - which makes for the comparatively large amount of pictures of the encore in our gallery. We thought it was just too precious not to share.
Eventually, they also got around to playing *20th Century Boy*, in one of the wildest, most fun covers I've ever heard. For sure something special to remember. And, er, may I have the toy? No answers to that, please.
© F:ej. All rights reserved.
http://facttraction.info/Content/Articles/Reports/Reports-DerZibet-at-Shibuya-Chelsea-Hotel-Rock-n-Roll-Vaudeville-2011.html
http://facttraction.info/Content/AudioVisual/DerZibet-at-Shibuya-Chelsea-Hotel-Rock-n-Roll-Vaudeville-2011-Gallery.html
Второй отчет, опубликованный в ROKKYUU MAGAZINE, в основном посвящен выступлению раиновцев...
Ra:IN’s Rock’n'Roll Vaudeville Set Shibuya Aflame!Ra:IN’s Rock’n'Roll Vaudeville Set Shibuya Aflame!
http://www.rokkyuu.com/live-report/rains-rocknroll-vaudeville-set-shibuya-aflame/
Live Report
by Diana Tome, Joana, posted September 15, 2011
The twoman show, “Rock’n Roll Vaudeville 2011″ gathered fans of all ages to see Der Zibet and Ra:IN Chelsea Hotel on June 24. After an interesting performance by veteran band Der Zibet, it was time for a unique sound and style for this modern scene. Surprisingly on time, michiaki, PATA, Tetsu and DIE made their appearance under blue lights. The crowd went wild, yelling out their names excitedly and clapping until michiaki took the mic and addressed the audience with a cool “Hello Tokyo!” With that said, the four men dove right into the performance with “Circle.”
The room went silent with no vocals to distract the audience from the pure energy derived from the instrumental performance. PATA seemed to drown in the song as his fingers sped away, seemingly effortless. Powerful drums set the beat while DIE thrashed his head fervently behind his keyboard. michiaki joined in, lost in the rhythm as he swung his head. The four musicians were impressive, and each note blended perfectly, making it hard to focus on a sole instrument. Red light took over and the song drove us away–in circles–through the virgin mountain under heavy Ra:IN, or so it seemed. Loneliness was embraced and the world disappeared as the red room was submerged in sound. Bass gave way to the guitar’s cries, the lights turning an appropriate blue. Drums and keyboard joined in announcing the thunders before the sobs of a gentle piano took over. The song built up as we approached the mountaintop and like the sun after the rain, golden light shone brightly.
PATA’s smile was contagious and as the song ended, the crowd greeted the band with earnest applause. “Happy” was indeed the best way to describe the atmosphere by the second song. The rhythm duo took over with heavy drums and potent bass lines.The African beat added soul to the atmosphere, Tetsu smiling brightly as he set the pace. The mood changed then for “Crying,” the heavier song firing up the crowd. The heat was visible and DIE unbuttoned his shirt in preparation for some more thrashing, he and michiaki helped by the fans, who sang during the chorus before the whole room swirled and twirled with the music. The lights turned yellow, like the welcoming morning sun, and a sense of peace filled the venue. The crowd pumped their arms in the air with the chorus in unmistakable 90s V-rock style.
“Thank you all for coming! It’s a pleasure to play with Der Zibet here tonight! Have fun!” michiaki said before the room was engulfed in red for METAL BOX. The electro beat invaded the room and PATA took a drag of his cigarette, seeming completely at home. The audience swung to the beat and DIE, now with a portable keyboard, moved to the front, interacting with the other members. PATA raised his hand in the air to thank the fans and immediately all hands in the room shot up. The rhythm built up with fast guitar and bass until the guitar sped away for a solo but soon bass and drums caught up in a fast ride, the song gradually building in heaviness.“You know, PATA is going to Europe!” michiaki said. As the crowd approved, PATA took the mic exclaiming, “You are not my Twitter!” The audience burst out laughing before the bassist introduced the next song “Psychogenic.” The venue was washed in blue and green lights while DIE took the spotlight, moving back and forth between keyboard and mic as he joined in with the singing. Half way through the song, red light opened the path for drums and guitar, which blasted off to the sound of a melancholic piano, mournful bass following close behind.
PATA traded his guitar for a two-neck for “Indictor to The Future.”michiaki also opted for a cool bass that resembled a machine gun and made sure to hold it up high in the air, neck pointed to the crowd, just like the imagery. With the audience on fire, the bassist encouraged the fans to pump their hands in the air and they immediately complied. Always with a cigarette between his lips, DIE moved around with his portable keyboard, interacting with the fans. PATA’s two-neck guitar with 12 strings on one neck and 6 on the other was imposing and the crowd didn’t dare to breathe as the guitarist’s fingers flew over the strings. The crowd moved to the beat as the song built up, michiaki taking the opportunity to interact with them some more, touching hands and encouraging them to loose all consciousness into the beat. The song reached the end and michiaki, in a rock and roll move, shot his guitar up in the air, leaving it hanging by its chord from pipe on the ceiling, the audience staring in awe as the bass swung dangerously.
A crimson veil welcomed “Wish.” The band and fans became one for the last song, swinging to the beat. PATA, now with a normal 6-string guitar let the guitar speak, speeding away under flashing lights. The rhythm duo followed fast behind while michiaki and the fans sang the chorus-rock beat taking over. Like a rocket preparing for takeoff, the four men prepared for the grand finale with DIE standing on his keyboardRa:IN left the stage to a hearty ovation, thanking the fans for their support.
In reply to an earnest encore demand, Tetsu came back, thanking everyone for coming. “I’m happy we are here with Der Zibet!” he said, “Are you also Der Zibet fans?” he asked, greeted by a loud, affirmative shout. “It’s not loud enough! Der Zibet!” he yelled and the fans replied with a loud “Yei!” But before the members of Der Zibet had a chance to make an entrance, he changed his mind saying… “OK, how about Ra:IN?” and a thunderous roar made the walls shake. As Tetsu talked about the tour and the tour goods, the other men made their entrances, sauntering in as if they were entering their own living rooms. As PATA arrived, the fans yelled loudly and it was hilarious to see Tetsu mimicking them fans with a teasing “PATA yei!” that filled the room with laughter.
The encore of “Summer of Love” was accompanied by some nice bass lines and confident drumming. Afterwards, the fans gave all they had for “WITHIN YOU.” Half way through, DIE introduced the bass solo and hands waved as the steady bass was set free and then guitar blasted off for the finale. But the night wasn’t over yet! Tetsu moved to the front once more, now with Der Zibet’s DVD in hand, and took some time to look it over, a bit unsure of its nature. To friendly laughter, he called Der Zibet’s guitarist Hikaru who was received with a big cheer. Hikaru thanked the fans for the support and ended up sharing some old stories. “No matter how many times I meet Tetsu, he never remembers me the next time,” he complained with an amused smile. Hal, Mayumi and Mahito also came back and finally Issay. “YOU!” Tetsu said, looking sternly at the audience. “Go buy the DVD! Even if you already have it!” The fans laughed, but he didn’t pay much attention, calmly passing the mic to Issay as he added, “I’ll leave it to Issay. Now you introduce Ra:IN!” before leaving the stage.
Issay “PATA-kun!” Issay called, but there was so sign of PATA. From the crowd, a female voice encouraged him shouting “Issay keep trying!” With a smile, Issay confessed, “I’ve never been in a live like this… where you call and they don’t come out!” Issay decided to try michiaki and the bassist at least came out cheerfully. Then he tried again to call PATA-this time leaving off the “kun.” It was cute to see PATA pop his head out the door as he said “Sorry to bother you,” before coming back out as shouts of “KAWAII!” escaped the crowd. With both bands on stage, Ra:IN said goodbye to the crowd with“20 century boy” and Issay on vocals, 90s rock and roll chaos on stage in an electrifying and somewhat terrifying performance. ROKKYUU look forward to our next frantic ride with Ra:IN and will be waiting, patiently, for future releases.
Set List
1. Circle
2. Happy
3. Crying
4. METAL BOX
5. Psychogenic
6. Indicator to The Future
7. Wish
Encore
1. Summer of Love
2. WITHIN YOU
3. 20 century boy
Атмосферу этого концерта отлично передают фотографии... Мне особенно нравится вот эта...
6 июня 2011 года в отели Челси (Shibuya) Der Zibet и Ra:IN дали совместный концерт Rock’n'Roll Vaudeville 2011...
Судя по лайв-отчетам, это был замечательный концерт...
Как всегда, прекрасный отчет от Rika опубликован на Facttraction: entertainment japan.
Там же размещена и большая фотогалерея этого неординарного события.
Этот отчет в большей степени посвящен зибетовской части концерта.
DerZibet @, Rock'n Roll Vaudeville 2011DerZibet @ Shibuya Chelsea Hotel, Rock'n Roll Vaudeville 2011
Written by: Rika; Edited by: Ina, Nataly
Chelsea, or rather, *Rock'n Roll Vaudeville 2011* at Shibuya Chelsea Hotel, to give it its full, correct, official title - I tend to think of lives just by, sometimes the short form, of a venue's name - is, so far, the strangest live I've seen *DerZibet* at, for me personally.
Not that they were particularly strange - or make that, of course they were strange, since they always are, in the unique, exceptional, in the best sense of the word strangeness that is their trademark, that makes them captivating - what was strange for me was the particular combination of the bands at that two-men live: *DerZibet* with *Ra:IN*.
Two bands that at first glance - and even fifth, sixth and seventh - don't really have much, if anything, in common, not in music, not in general style. Nothing aside from, I guess, both doing what they like, because they like it. Uncompromising, staying true to themselves. Which in itself makes them outstanding in this day and age.
Even if that combination is and will probably forever stay strange for me. And I know I'm repeating myself, but that word - strange - is one of a few stuck in my mind to describe the night.
I guess I could add that *DerZibet* actually fit that by starting the live strangely, diverting from the practice of the last year or so, by opening the night with an SE different from the *Nostaligic Future* one they have used recently.
My first thought on that - A new one? A teasing hint at their new album maybe? (I am really curious about that) - unfortunately turned out to be incorrect, though it proved to be an unusual one after all. One that according to *HIKARU*, whom I asked about that later on, they had written in 2008, shortly after their reunion, but then played only a few times. That he decided to use this time after he had come across it again by chance, and liked it again.
*HIKARU*, if one of my asides might be permitted, I have come to think, has the most interesting chance encounters with old work of theirs, that then results in interesting new things. Something I have to say I envy him, though actually mostly for the things he at times came across that probably no one but him and the other members will ever see (again).
Back to the live, their performance started rather normally - or as normal as it gets with them - in a pleasingly fun and familiar way, exactly like *Kaikoteki Mirai - Nostalgic Future*, as well, with *Lunatic Dancing*.
Which is still now as much as way back when always a crowd pleaser, something fun to - lunatically or not - dance to. Glorious fun to watch as well as they themselves seem hell bent on proving - and actually easily succeeding - that they definitely can still play as - dare I say it? - lunatically as they used to those days just after their debut. As excitingly, crazily.
A craziness that goes on - still following *Kaikoteki Mirai - Nostalgic Future* - with *Girls*, like *Lunatic Dancing* in a different arrangement than in the old days, but for all the differences familiar. Not just because I've by now heard it plenty of times at lives and the CD, but simply because it's still their style.
As is the next title that follows, a new one, still with a female - kind of - protagonist, flamboyant *Upper Queen*.
A flamboyance that applies equally or more to *ISSAY* on stage, in what I think of as one of his "more mime" songs - according to him, all his stage movement is mime based; for myself, there are some songs, like *Upper Queen*, with others such as *Der Rhein* or *Masquerade*, where it shows more - in both performanance and appearance stunning enough to easily outshine the fictious hero(ine?) of the story. As well, I think, anyone who might in reality live in that particular Demi Mode part of Tokyo that might have denizens as featured in the song.
More real than the song, the "imitation flower" or fake jewles scattered around in the lyrics, is their performance, *ISSAY*'s again escalated, in comparison to when I saw him last, acting, hard to adequately put in words - the way he uses both gestures as well as his costume to convey meaning beyond words - but again, creating a special reality for those watching.
What is rather special, I think, too, is *ISSAY*'s unique, sometimes quirky sense of humour, which he displays during the first encore of the evening, after that starts normally enough with the usually "*Good evening, it's Der Zibet*," followed by a "*Please have fun until the end*."
Less normal is his - very complimentary - comment about *Ra:IN* after that, a play on both words and sound/pronounciation of words, that works perfectly in Japanese, in a very fun way, and is absolutely impossible to translate to the same effect. (Approximately close, that is, about as close as Andromeda is to our galaxy, what he said was: "*Ra:IN is a totally amazing band - so I/we aim to amaze as well, tonight.*" Which, of course, isn't anywhere close to Japanese in both wording or impact. Some things, in particular jokes or wordplay, I guess simply can't be translated, not for all the headaches in the world.)
Not that he gave me a headache then, the next song - *Vanessa no Joudou*, announced even, at the end of the MC - actually made me laugh. Not because the lyrics are funny - *ISSAY*'s aren't - but for the fact that he actually told me where the idea for that song came from. Right after that is - which is the part that makes it funny for me - he told me, rather emphatically, that he does *not* want to talk about that topic, what ideas or memories or whatever else are behind a song, with anyone, ever. Then told me anyhow. (Though I guess he might have minded less than usual since, as he also said, he had already told *HIKARU*...)
In a break of pace, a by then very welcome short cool down, comes *Love Song*. Less intense as far as music is concerned, I think it is one anyone who actually listens to - or reads - the lyrics might easily end up wishing it were a song written "for me," for the feelings expressed.
More intense it gets again with *Der Rhein*, which comes with another surprise: if memory serves correctly, for the first time since I've started covering them, *ISSAY* using his mask during that. A performance different obviously from *Masquerade* - where he usually uses it, however, *Masquerade* wasn't on the set list at Chelsea - but equally intriguing. Somehow fitting the song as well, definitely fitting the atmosphere of the night, the idea of Vaudeville.
After that came a completely different surprise, fun definitely for the fans but I'm sure less so for them on stage, when, due to technical problems *MAHITO* encountered, *ISSAY* and *HIKARU* were forced into the longest talking session I've ever seen them do on stage.
Which *ISSAY* started not so unusually with a "*thank you. It's been a while we've done a live, so I'm happy (we're doing one) tonight.
*" That took an unexpected turn with his addition of "*That uncle* - ojichan, in Japanese, a rather not very flattering term for middle aged men - *over there seems to have some problems.
*" Then, when a few moments of staring at "uncle" *MAHITO* didn't have any noticable results, "*Last year, we released our 2nd album since our reunion. Did you listen to it? The year before that - wasn't it?*" interrupting himself at this to give *HIKARU* a questioning look, "*we released the album before that, Primitive...
*" Which *HIKARU*, to much laughter, answered with a "*Was it [then]?*"
Followed by *ISSAY*, to even more laughter: "*At least that's what I think... lately, it seems I'm getting forgetful at times...
*" To which *HIKARU* still wasn't any great help, commenting that "*There's no use asking me. My memory is even worse.*"
*ISSAY*, at least, seemed a tiny bit embarrassed, as expressed by a certain kind of laugh with "*neither of us remembers...*"
*HIKARU* isn't that easily embarrassed, he went fact finding instead - or at least tried to: "*So when was that? Two years ago? Three years?*"
Though then answered a "go nen" - five years - shout from the audience with a "*no, it's not been that long.*" (For the record, according to their official site, it was released March 6th, 2009.)
In a way *ISSAY* then proceeded to dissolve the *Primitive* release data dilemma - in a kind of King Alexander style, who simply cut the knot when he couldn't unfasten it otherwise - with the suggestion that "*it was January 1st this year, wasn't it?*" (Rather, if it doesn't work any other way, I'll make it work my way.)
*HIKARU*: "*This year?*"
*ISSAY*: "*Isn't that right?*"
Then, "*Anyhow, the DVD from the tour for that album is on sale tonight, so if you don't have it yet, buy it.*"
Added, rather as an order: "*Make DerZibet happen!*" (That, actually, again is a less than great translation into English, it was a comment that was funny in Japanese, the way he delivered it and greeted with another bout of laughter from the audience.)
More laid back *HIKARU* toned that down a bit with a laughing "*You're too demanding*," to *ISSAY*, then to the fans, "*well, if you'd like to help us...*"
That was followed by a pause, with them both staring at *MAHITO* - who by then even had summoned help, but still wasn't any closer to a solution - ended by *ISSAY* saying "*Looks as if uncle still has problem...*"
*HIKARU* adding "*that drunk uncle...*" (though if *MAHITO* was, it actually didn't show...)
*ISSAY*, maybe in one of his "itazura" moods, "*well, he messes up something every live. Okay, maybe not /every/ live. More like one out of three.*"
Another pause, then *HIKARU* taking up the talk: "*So we're playing with Ra:IN tonight. They're really good. And of course they have more fans. Anyhow, we're going to do a session together later.*"
Another pause.
Then *HIKARU* again, to the fans "*How about you say something?*"
That answered by probably the loudest laughter of all, he explained that "*we usually don't talk this much!*"
Backed up by *ISSAY* with "*Really we don't. Oh, we'll be playing at another event at Citta Kawasaki, on August 19th.*"
*HIKARU* adding to that "*that likely will be our last live this year.*"
Explaining after a disappointed "Eh!!!!" from the audience that "*We're trying our best... we want to do lives, but we also want to release a new album...*"
The album, I guess being what *ISSAY* calls a "secret project we are engaging in." (If that's NOT the album, I want to know what it is!)
Another pause after that, with both of them turning to *MAHITO* again - there is, actually, an *ISSAY* shot of just that in the gallery that I think is beautiful - *HIKARU* asking "so how are things going over there?"
As no progress report was forthcoming, then "*he's strange even when he isn't drunk... when he's drunk he's even stranger...*"
Followed by another pause, then a double appeal to the fans from *HIKARU* with "*So maybe give us a topic?*" and *ISSAY*, "*we might be able to talk about that if you do.*"
To which some fan took mercy on them and shouted back something like "recording."
Which actually lead to some comments, first just again that they want to release it before the end of the year, then *HIKARU* saying "*we've been working on it since March... there are about 30 songs. Well, only one of them is any good, so far.*"
Then *ISSAY*, "*Well, maybe a little more than that, but still...*"
*HIKARU* again, "*Actually, it's really fun/interesting, this time. Really. I want to show off an even more "maniac" ISSAY, so we've been trying a lot of things... *" ("Maniac" - not a term, that is not an adjective in English language, is *HIKARU*'s and to some extent *ISSAY*'s term to refer to their own kind of unusual, exceptional, driven craziness. Implying, all those and more and, I guess, just something to accept as "*DerZibet* English." Which I guess makes them creatively exceptional even in English. The Oxford Advanced Learner's Dictionary of English Language likely would disagree. I like it, though.)
At that point - maybe anticipating what *HIKARU* was up to? - *ISSAY* interrupting with "*ah, our uncle still isn't ready...*"
*HIKARU* stuck to his topic though: "*well, tried several things, including pop, glam... you know, something that goes with those looks...*"
Pausing for dramatic effect, he then finished that - to even more laugher from the audience - with "*so, it came out all very GLAM!*" Which, of course, fits *ISSAY*, though he rather looked as if not sure whether to be pleased or embarrassed, but conceeded the point by saying that yes, indeed, "*lots of the songs are very Glam style.*"
Admitted, not that that was any news for people who know him, "*but then, I used to love Glam when that was around.*"
By then, finally, *MAHITO* had decided that whatever wasn't working wouldn't improve so he gave a go on sign, which both *HIKARU* and *ISSAY* answered with several "are you sure?" though after several nods from *MAHITO*, *ISSAY* decided to proceed with an announcement that only a Japanese, maybe only him, could produce in form of a "*Let's go ka*." (Ka being the Japanese equivalent of a question mark.)
The next song I personally thought rather timely after that, since as obviously they didn't have a prayer against technical failure, at least they got the chance to take the edge of their frustrations with edgy *PRAYER* following once *MAHITO* declared whatever device was malfunctioning dead and they went on to resurrect the live.
In that, also semi solos again, that I've come to love, *HIKARU* crazy on guitar and in fact whatever had died on *MAHITO* not limiting the fun - at least not for fans - in any way.
*MAHITO* himself I guess might have been frustrated, he wasn't his usual self after the live, actually. Though, as far as I am concerned, that is just "live." And life. Things happen, wanted or not. Perfection in general NOT happening. And *PRAYER* - and all that came after that - was just fine as it was.
Fitting life as it is currently in Japan is the next song, one that I'm sure the Japanese government - which via the Ministry of Economy, Trade and Industry recently has "advised" businesses, with the exemption of small businesses (and private households) to cut year to date electricty consumption by 15% - would very much approve, since its theme is to "switch of the light" - *Akari wo kesshite* - which indeed would save energy even if it doesn't *ISSAY*'s. Or *HIKARU*'s or the others'.
Or, come to think of that, the fans'. Maybe, come to think of it, if someone could find a way to gather the energy outpour from fans, live houses could be run on that? (That is, there have been ideas here of gaining energy from people in mass just walking over certain areas, like in big stations and if that would work, I think fans going wild in live houses should work maybe even better.)
Then again, just like they did on stage, Tokyo population I think will have to *TOUGH* it out these *Summer Days* - they didn't do that, even though it's on the same album as *Tough* and *Akari wo kesshite* - though at least this year we'll have the excuse of less air conditioning in Tokyo's infernal summer heat and humidity if we go *Homo Demens*.
Though, just keeping a part of the lyrics of *TOUGH* in mind might help, too: "*Baby, it's all right, hitorikiri demo ii, tough he ikiyou.*" (The Japanese part: "it's okay if you're on your own, let's live tough.") Good advice, I'd say, and definitely better than panicking over things that can't be helped.
It's another MC after that, back to normal *ISSAY* brief - and he the one who looks most pleased or relieved about that, which made me chuckle a bit - just a reminder of their next appearance combined with thank yous and all the things that come towards the end of a live.
Craziness though still continues, with *Shinkaigyou* - Deep Sea Fish, again from *Homo Demens*; I guess my getting stuck on "crazy" really fit the night. As does the song, a title that makes me wonder where that comes from, though I guess it fits with the weirdness of Vaudeville; actually, that now makes me wish *DerZibet* could play *FREAK SHOW*, that would fit this night, too. (*FREAK SHOW*, FYI, is a song by *PHI*, *ISSAY*'s then collaboration with *44MAGNUM* *Satoshi "Jimmy" Hirose*, while *DerZibet* was on hiatus. Lyrics by *ISSAY*, music by "*Jimmy*." But a song I think would suit *DerZibet* as well.)
What they play next, with all the intrumental fun that comes with that, the introductions of the members - I still have to find out by what criteria *ISSAY* decides whether to make introductions or not - is *The Night of the Mammoth*. Mammoth in "moriagari," the excitement in the audience, as well - energy from the air, if harnessable, I'm sure by then could have powered the live house - which takes over to the last, and actually also very fitting last title of their stage, *Heat Island no Hakuchumu* - Heat Island Daydream.
THAT certainly fits Tokyo of these days, even if these days Tokyo isn't as manga and novels "kinmirai" - near future - dystopian distorted as actually *ISSAY*'s lyrics are. For me, fascinating in that. Playing on ideas, possibilities, 'might be's...
'Might be's that I hope will be explored in their next album, that I look very much forward to, but no more that night, as they go off stage to let *Ra:IN* take over.
*Ra:IN* taking over is, actually, a bit of "shut down" time for me, as I didn't ask to report on them, as well - I thought of asking *HIKARU* to arrange it, but then things that couldn't be avoided or postponed came in the way so I never did - which is in a different way nice because it allows me to get reacquainted with them, after not having heard them since, I think, 2007.
Then, at a year end live I was invited to via a then *PATA* connection, and ended up at their uchiage as well. (No comments on that, aside from that is was fun.)
Their music, I have to admit, for me needs getting used to, in particular the fact that there is no vocalist, no lyrics - by and large, and if *DIE* and/or *michiaki* sing, it's usually overlaid by music, not very audible. (*PATA*, of course, doesn't sing. Though in *Ra:IN*, unlike *X*, he might talk on stage. BRIEFLY. He did once, that night, about that when it happened.)
That aside, as I said before, what I like about them is "doing our own thing," their authenticity. Music that is maybe *ISSAY*'s Hakuchumu put in a different form, distorting, intriguing, challenging.
And fun.
As were some moments on stage, first, *michiaki* opening their stage, after their first song, *Circle*, with "*Hello Tokyo!*"
I'm not sure if that's because - as it seems - he's located in Yokohama, not Tokyo, or because he's gotten used to greetings like that from their long European tour in 2009. (The latter I'd like to think, I think theirs was one of the longest tours any Japanese band has done in Europe.)
Talking about Europe, *michiaki* in a later MC also mentioned that *PATA* had to go on a flight over there, to London, first thing next morning, adding "*but he said that maybe he'll just go on the flight drinking all night* (at the after live party - Ed) *without any sleep at all!*"
Which *PATA*, in his only audible comment of the night, on stage, answered with "*Anta ha watashi no Twitter ja nai*" - "You aren't my twitter" - which made everybody nearly fall over laughing. Both, I think, at *PATA*'s superdry delivery of that line, as well as the image of *PATA* and Twitter, as the only connection ever between those two can be "not."
More talk - most talk, though little enough - during their live came from *Tetsu*, who seems to be their "social spokesman" and also took over for the first part of the encore.
The encore, actually was only one, but one great fun song.
*20th Centruy Boy*, of course. What else?
And can I have that toy? I'll treasure it.
Pardon that. Or rather, consider it tongue in cheek. Though really, I wouldn't consider it a great sacrifice having to take care of it. Though I guess I'll stop at this - seems THEIR flippant mood affected me. Not that I'm complaining.
Essentially, I guess I feel that like in a session, in a report about a session, anything goes. Anyhow, before the song, *Tetsu* opened the encore, coming on stage with the *DerZibet* *Primitive* DVD and talking a bit about that, then one by one summoning the members - except *HAL*, I think for obvious reasons - on stage, starting with *HIKARU*.
The latter telling the fans that actually, he and *Tetsu* had worked together on several projects, but *Tetsu* always failed to remember him - for which *Tetsu*, comically in behaviour but otherwise more seriously bowed apologies, then both of them laughing - before he yielded his place to *MAHITO*, who it turned out had also worked with *Tetsu* before, and *MAYUMI*, that a first meeting.
*ISSAY* was the next/last to be called onto stage.
Left there alone center stage - almost, *HIKARU* was just a bit to his left, or right, as you look at the stage - saying "*maji?*" "*maji?*" (something like, "ehhhh???" or in longer form, "are you serious?") two or three times after *Tetsu* announced he would "*leave the microphone to ISSAY now, until we play.*" and went offstage.
Which of course fans loved just as much as the earlier unexpected long talk.
Even if *ISSAY* didn't, "complaining" that "*they aren't coming out on stage!*" even after telling them to. Turning to talk to *HIKARU* instead, enlisting his help and eventually getting everybody back there - which was, really, very strange but very fun, too.
Something special - really something to remember - which makes for the comparatively large amount of pictures of the encore in our gallery. We thought it was just too precious not to share.
Eventually, they also got around to playing *20th Century Boy*, in one of the wildest, most fun covers I've ever heard. For sure something special to remember. And, er, may I have the toy? No answers to that, please.
© F:ej. All rights reserved.
http://facttraction.info/Content/Articles/Reports/Reports-DerZibet-at-Shibuya-Chelsea-Hotel-Rock-n-Roll-Vaudeville-2011.html
http://facttraction.info/Content/AudioVisual/DerZibet-at-Shibuya-Chelsea-Hotel-Rock-n-Roll-Vaudeville-2011-Gallery.html
Второй отчет, опубликованный в ROKKYUU MAGAZINE, в основном посвящен выступлению раиновцев...
Ra:IN’s Rock’n'Roll Vaudeville Set Shibuya Aflame!Ra:IN’s Rock’n'Roll Vaudeville Set Shibuya Aflame!
http://www.rokkyuu.com/live-report/rains-rocknroll-vaudeville-set-shibuya-aflame/
Live Report
by Diana Tome, Joana, posted September 15, 2011
The twoman show, “Rock’n Roll Vaudeville 2011″ gathered fans of all ages to see Der Zibet and Ra:IN Chelsea Hotel on June 24. After an interesting performance by veteran band Der Zibet, it was time for a unique sound and style for this modern scene. Surprisingly on time, michiaki, PATA, Tetsu and DIE made their appearance under blue lights. The crowd went wild, yelling out their names excitedly and clapping until michiaki took the mic and addressed the audience with a cool “Hello Tokyo!” With that said, the four men dove right into the performance with “Circle.”
The room went silent with no vocals to distract the audience from the pure energy derived from the instrumental performance. PATA seemed to drown in the song as his fingers sped away, seemingly effortless. Powerful drums set the beat while DIE thrashed his head fervently behind his keyboard. michiaki joined in, lost in the rhythm as he swung his head. The four musicians were impressive, and each note blended perfectly, making it hard to focus on a sole instrument. Red light took over and the song drove us away–in circles–through the virgin mountain under heavy Ra:IN, or so it seemed. Loneliness was embraced and the world disappeared as the red room was submerged in sound. Bass gave way to the guitar’s cries, the lights turning an appropriate blue. Drums and keyboard joined in announcing the thunders before the sobs of a gentle piano took over. The song built up as we approached the mountaintop and like the sun after the rain, golden light shone brightly.
PATA’s smile was contagious and as the song ended, the crowd greeted the band with earnest applause. “Happy” was indeed the best way to describe the atmosphere by the second song. The rhythm duo took over with heavy drums and potent bass lines.The African beat added soul to the atmosphere, Tetsu smiling brightly as he set the pace. The mood changed then for “Crying,” the heavier song firing up the crowd. The heat was visible and DIE unbuttoned his shirt in preparation for some more thrashing, he and michiaki helped by the fans, who sang during the chorus before the whole room swirled and twirled with the music. The lights turned yellow, like the welcoming morning sun, and a sense of peace filled the venue. The crowd pumped their arms in the air with the chorus in unmistakable 90s V-rock style.
“Thank you all for coming! It’s a pleasure to play with Der Zibet here tonight! Have fun!” michiaki said before the room was engulfed in red for METAL BOX. The electro beat invaded the room and PATA took a drag of his cigarette, seeming completely at home. The audience swung to the beat and DIE, now with a portable keyboard, moved to the front, interacting with the other members. PATA raised his hand in the air to thank the fans and immediately all hands in the room shot up. The rhythm built up with fast guitar and bass until the guitar sped away for a solo but soon bass and drums caught up in a fast ride, the song gradually building in heaviness.“You know, PATA is going to Europe!” michiaki said. As the crowd approved, PATA took the mic exclaiming, “You are not my Twitter!” The audience burst out laughing before the bassist introduced the next song “Psychogenic.” The venue was washed in blue and green lights while DIE took the spotlight, moving back and forth between keyboard and mic as he joined in with the singing. Half way through the song, red light opened the path for drums and guitar, which blasted off to the sound of a melancholic piano, mournful bass following close behind.
PATA traded his guitar for a two-neck for “Indictor to The Future.”michiaki also opted for a cool bass that resembled a machine gun and made sure to hold it up high in the air, neck pointed to the crowd, just like the imagery. With the audience on fire, the bassist encouraged the fans to pump their hands in the air and they immediately complied. Always with a cigarette between his lips, DIE moved around with his portable keyboard, interacting with the fans. PATA’s two-neck guitar with 12 strings on one neck and 6 on the other was imposing and the crowd didn’t dare to breathe as the guitarist’s fingers flew over the strings. The crowd moved to the beat as the song built up, michiaki taking the opportunity to interact with them some more, touching hands and encouraging them to loose all consciousness into the beat. The song reached the end and michiaki, in a rock and roll move, shot his guitar up in the air, leaving it hanging by its chord from pipe on the ceiling, the audience staring in awe as the bass swung dangerously.
A crimson veil welcomed “Wish.” The band and fans became one for the last song, swinging to the beat. PATA, now with a normal 6-string guitar let the guitar speak, speeding away under flashing lights. The rhythm duo followed fast behind while michiaki and the fans sang the chorus-rock beat taking over. Like a rocket preparing for takeoff, the four men prepared for the grand finale with DIE standing on his keyboardRa:IN left the stage to a hearty ovation, thanking the fans for their support.
In reply to an earnest encore demand, Tetsu came back, thanking everyone for coming. “I’m happy we are here with Der Zibet!” he said, “Are you also Der Zibet fans?” he asked, greeted by a loud, affirmative shout. “It’s not loud enough! Der Zibet!” he yelled and the fans replied with a loud “Yei!” But before the members of Der Zibet had a chance to make an entrance, he changed his mind saying… “OK, how about Ra:IN?” and a thunderous roar made the walls shake. As Tetsu talked about the tour and the tour goods, the other men made their entrances, sauntering in as if they were entering their own living rooms. As PATA arrived, the fans yelled loudly and it was hilarious to see Tetsu mimicking them fans with a teasing “PATA yei!” that filled the room with laughter.
The encore of “Summer of Love” was accompanied by some nice bass lines and confident drumming. Afterwards, the fans gave all they had for “WITHIN YOU.” Half way through, DIE introduced the bass solo and hands waved as the steady bass was set free and then guitar blasted off for the finale. But the night wasn’t over yet! Tetsu moved to the front once more, now with Der Zibet’s DVD in hand, and took some time to look it over, a bit unsure of its nature. To friendly laughter, he called Der Zibet’s guitarist Hikaru who was received with a big cheer. Hikaru thanked the fans for the support and ended up sharing some old stories. “No matter how many times I meet Tetsu, he never remembers me the next time,” he complained with an amused smile. Hal, Mayumi and Mahito also came back and finally Issay. “YOU!” Tetsu said, looking sternly at the audience. “Go buy the DVD! Even if you already have it!” The fans laughed, but he didn’t pay much attention, calmly passing the mic to Issay as he added, “I’ll leave it to Issay. Now you introduce Ra:IN!” before leaving the stage.
Issay “PATA-kun!” Issay called, but there was so sign of PATA. From the crowd, a female voice encouraged him shouting “Issay keep trying!” With a smile, Issay confessed, “I’ve never been in a live like this… where you call and they don’t come out!” Issay decided to try michiaki and the bassist at least came out cheerfully. Then he tried again to call PATA-this time leaving off the “kun.” It was cute to see PATA pop his head out the door as he said “Sorry to bother you,” before coming back out as shouts of “KAWAII!” escaped the crowd. With both bands on stage, Ra:IN said goodbye to the crowd with“20 century boy” and Issay on vocals, 90s rock and roll chaos on stage in an electrifying and somewhat terrifying performance. ROKKYUU look forward to our next frantic ride with Ra:IN and will be waiting, patiently, for future releases.
Set List
1. Circle
2. Happy
3. Crying
4. METAL BOX
5. Psychogenic
6. Indicator to The Future
7. Wish
Encore
1. Summer of Love
2. WITHIN YOU
3. 20 century boy
Атмосферу этого концерта отлично передают фотографии... Мне особенно нравится вот эта...
