[ENGLISH TRANSLATION] MIYAVI x HOUYHNHNM ー How to get a sense of balance between the normal and the abnormal days

I N T E R V I E W  W I T H  M I Y A V I 

Original source HOUYHNHNM
Big thanks & credits for JP/ENG translation to @linhambabey / Janjan

How to get a sense of balance between the normal and the abnormal days

ーMIYAVI, what kind of clothes do you like？

MIYAVI: I like clothes that have a sense of function.  I’ve worn a lot of clothes but I am definitely always pulled toward clothes that have a balance between the design and the functionality.  Not something that just  looks cool or something that just feels comfortable but something that puts both of those elements together.

I’m the same with my music.  It needs to sound good but it also needs to have a good message.  It’s great to have one or the other but making something catchy with a tough message is something challenging.  It is because of that challenge that I want to make that music that way.  That’s why I also like fashion that has that sense of balance to it.

ーI see。

MIYAVI： Also, because of my work as both a musician and actor, I am able to see the power that clothes themselves can have.  When it comes to performing, I am putting on a different role.  Showing up at the actual performance place wearing the clothes of that character enhances my immersion in the experience.  I am able to take in the power that the stylist and designer want to infuse to the moment.

The power that clothes hold is different from person to person and piece of clothing to piece of clothing so we must hold that as important.  Even with the Dsquared clothes I am styled in today, I had to change the way I looked at myself with my internal camera between the first and second outfits.

ーTalking of the Dsquared brand, what impression do you have of them？

MIYAVI：Luxury but medium.  That is to say the brand has a normal feeling to it.  There is certainly a power in being a glamorous, high brand but sometimes that gets tiresome.  Dsquared is art of a quality that it can be worn on the runway, of course, but it is also perfectly suited to being every day casual wear, I think.  Comfortable for the normal days and the days that only border on normal, I could be comfortable to hop on a plane in this or go around on tour and shine on stage.

ーThe line you are wearing right now is from the 2023 Spring Summer pre-collection with the theme of “LA”.  Miyavi, you used to live in LA.

MIYAVI：It’s a very free plays.  Openminded, I should say.  Not just with the fashion but also environmental issues.  There are a good meaning people with protection plans over there and many cultures advancing.  You strongly can feel that entertainment is the meaning for existence there.  By the way, why is the theme for this collection “LA”?

ーTwo of the designers were in LA for surfing.  They would spend the day surfing and go into town at night to just draw inspiration.  The collection was created to show both sides of that experience.

MIYAVI：Okay.  There certainly is not a lot of distance between the town and nature in LA.  You can go from swimming in the ocean to standing on a mountain watching snow fall within the span of 2-3 hours.  That is to say, it’s a really dynamic place.

I treasure the beauty of something that was not perfect。

ーThis year is your 20^th year performing music.  Does it feel like it was long or did it go by quickly?

MIYAVI：Definitely went by too fast.  So many things have happened but I definitely feel like I still have some ways to go before I’m done.

ーDo you feel like you are reaching a turning point？

MIYAVI：I do.  I think about how to move forward.   I’m always thinking like that.  What will I be making use of next year?  All of that comes together and makes up life.  In order for me to live my way the want to freely, there are a lot of people that I affect to whom I am very grateful and I want to repay them, bit by bit.

ーYou are actively releasing music, touring the world, acting, as well as being a Goodwill Ambassador with the UNHCR.  It gives the impression that you are constantly in motion.  Is that a conscious design ？

MIYAVI：I wonder….I think it has just become part of who I am, flapping about like this.  But I don’t want to stop. 

ーBecause of the pandemic, a lot of artists had to put things to a stop.  What was that like for you？

MIYAVI：It made me stop and actually think about what it meant to be an entertainer and just how important person to person communication can be to get a read on a situation.  For us artists, distance is very important.  But suddenly there was a reset.  It took even the worlds top stars by surprise, I think, because it also bewildered me.  How can we do this, how can we meet again?

In this society where things are just getting more and more digital, I really asked myself how to hold the essence of humanity in a physical sense. 

Using the method of virtual lives, there are certainly lots of benefits there but there is also a lot that is lost there.  In that, I started to treasure “the beauty of something that is imperfect”

ーWhat is “the beauty of something that is imperfect”？

MIYAVI：Us as human beings are always called to imperfect things.  AI makes things that are perfect.  So we slowly make simple things.  We feel the value of the existence of humanity in these imperfections.  That is to say that being imperfect is what gives us all a reason to exist.  That’s what I thought of a lot while doing virtual lives.  For example, if I mess up the lyrics of a song, that will live in the memories of someone who was watching and that has great value to them as a person.  Such changes in what we value are happening very fast and I think are, in fact, being accelerated because of covid.

ーDo you think that physical is better than digital？

MIYAVI：I don’t think I can definitively say one over the other.  For example, there aren’t a lot of people in their teens who see a value in a physical album.  There are fewer and fewer people who can say “I remember when that’s how all music was listened to” about physical records.  The value of “good sounding music” may be changed to something else being valued in say ten years time, we don’t know.  Right now, a lot of people would not say the way they listen to music, be it digital or physical copies, matters that much to them.  This isn’t limited to just music but the way that we communicate.  We obviously have a lot of face to face communication as people and we tend to think of that as being good.  But in ten or twenty years, that might turn into the opposite.  The merits to not meeting in person may one day outweigh the merits to meeting face to face.  We are currently in a transitional period with our values.

ーCurrently, you are working as a UNHCR Goodwill Ambassador.  That seems like a job that would influence you to valuing the in person, being able to physically be there and interact with the people you are helping, is that not so？

MIYAVI：Of course it is definitely better to hold someone’s hand as they share the enws, it is impossible to do that through the internet.  But I don’t know the future.  I don’t know if it will or will not change.  For example, if things were moved to being online for meetings, information and materials would be shared through the screen immediately, it would certainly shorten how long it would go on.  And you can still be doing research constantly, that is extremely efficient.  Compared to before covid, I am having more of a give and take with people from overseas.

But for people like refugees who are in the transitional period from having their life in constant danger to not, they are much more worried about how they are going to live in such a cruel world.  This limits our ability to understand the reality of their situation.  You can’t feel the temperature, tension, and many more important variables without physically visiting a place so we have to visit.

The things that we as humans place value in, the truly essential ones, will not change ever but I do think that the superficial ones may start to change more and more from now on.  That’s why I’m sure it’s going to be polarized.

ーHearing you talk about this, I get the feeling you are very good with change.

MIYAVI：Yes, that’s true.  Instead of having “booksmarts” I value having “streetsmarts” instead.  I think this is something lacking in Japanese education.  Whether you can respond accordingly in whatever situation you find yourself in.

ーJapanese people tend to hold  a lot of pride in not changing to the situation.

MIYAVI：And that in and of itself is definitely a good thing, I think.  But every day the whole world is changing.  This may just sound like a contradiction but within that ability to not change, one must also be looking for the things that need to change.

ーAre there unexpected ways in which your work as a musician and your work with UNHCR overlap？

MIYAVI：There definitely are.  The first time I went to a refugee camp, I’ll be honest and say that I was scared being in a place so permeated with fear.  The camp where children were living was on the other side of a mountain where a big conflict was happening.  But when I started to play the guitar, I could feel their life force exploding.  “Ah, music can achieve something” is what I felt.  We were able to overcome the language barrier and convey the message of the music well.

ーIt’s all about how you put together the catchiness and message, like you mentioned before.

MIYAVI：There certainly are people who will only listen to a speech.  But they might be surprised to hear how much people get from listening to music.  My mission for the refugees in these camps as a goodwill ambassador is to call out the bright parts, the strong parts, the parts that make us the same as them as humans, their radiance and dignity.  The issues that refugees face certainly have a heavy and dark image to them.  But they aren’t the only ones who have those.  In every single person who calls themselves human, there are adversities that we are fighting against in our lives.  That is part of why not just music but films, fashion, culture in general, can do so much.

ーLastly, please tell us some activities you would like to do in the future.

MIYAVI：There is only diligence.  Every single one of us has to keep moving forward on our own path, that’s the only way.  I do a lot between music, acting, and social reform work, I want to tackle each of these, one by one, and level up all of my efforts.  I am blessed in the fact that I am able to learn, and I think that is a privilege given to humanity.  I want to always keep learning.

 

The Fender Telecaster guitar that Miyavi uses to achieve his sound has had many customizations added to it and, according to him, “it’s a telecaster but it’s wrong”.  Fender themselves have acknowledged his modifications and approved the new model, leading to the Miyavi Telecaster ® coming into use.  “the great guitarists of the past have destroyed existing values and created new ones” they said.

Original source HOUYHNHNM
Big thanks & credits for JP/ENG translation to @linhambabey / Janjan

• Photo_Yoshie Tominaga（W）
• Styling_Keisuke Shibahara
• Hair & Make up_Masaki Tanimori
• Text_Yuichiro Tsuji
• Edit_Ryo Muramatsu

[ENGLISH TRANSLATION] MIYAVI × HIGHFLYERS Vol.2 INTERVIEW 2018

Original (Japanese) source & credits :  highflyers.nu

Text: Kaya Takatsuna / Photo: Atsuko Tanaka / Photo Retouch: Koto Nagai 

English Translation by Nicki A. (@uchiakebanashi) 

A setback during his time in Cerezo Osaka’s Junior Youth. The moment he discovered that music gave the same excitement as soccer did. Teaching himself how to play the guitar. Leaving for Tokyo until he became a solo artist.

For our second interview with MIYAVI, we asked him to speak about his childhood up to his solo debut. He started playing soccer at the age of 7 and as his talent flourished, he was eventually selected in middle school to join as a member of Cerezo Osaka’s Junior Youth. Unfortunately the results of his efforts all went to waste as he had to retire due to an injury. After tasting his life’s first disappointment, and as if by destiny, MIYAVI came across the guitar. After the sudden loss of an admired senior, he was driven to head out to Tokyo where he encountered the band Dué le Quartz in a live house and was invited to join them. Though he was active with the band as their guitarist for 2 years, they eventually broke up due to a difference in principles. After all this, he finally reached his debut as a solo artist. From his encounter with the guitar, the lapse of his band activity, to the events behind the process of his solo debut, we got MIYAVI to share about the thoughts he had in those points of time.

He headed to Tokyo after facing the death of a senior he had held dearly. After the breakup of his band, his first solo live in Shibuya Town Hall was a success. These were the days he continued to run ahead alongside his insecurities.

• It seems that you’re from Osaka. How were you like as a child?

I played soccer from the age of 7. Everyday I would wake up in the morning, and was always playing before going to school, during lunch break and even after school until it got dark. My parents let me do as I wanted then and honestly, I barely had anything like a rebellious phase. When it came to studying, I think I was a kid who liked learning new things. Other than that, I was like any ordinary boy and was also interested girls.

• Soccer was very popular around that time, right?

Yes, you’re right. It was around the time J-League was first established. My father had originally played soccer and I eventually started playing too but I only became fully absorbed in it after I was chosen as team captain. The moment when I completely lose myself in chasing the ball and see the goal net sway from the ball that I had kicked in, my mind just goes really blank. It’s a feeling that’s immensely similar to when I am enveloped with cheers during a show. Even back then I’d get totally captivated by that satisfying feeling.

• You must have been really serious seeing how you were also a member of J-League’s Cerezo Osaka’s Youth Team.

Their sports ground was in Amagasaki and since it took an hour and a half to get there from where I was living, I had to run to the train station as soon as school finished and get changed inside the train itself. I was commuting like this and would still be late. Also, since it’s a pro team’s soccer ground, they have spotlights so we could train until late at night. Once training ends, I’d next be swaying on a packed train back home. The next day, I’d go to school and repeat the whole thing all over again. When it’s like that, wouldn’t you be so tired that you would spend your break time just sleeping? It came to the extent that my friends started drifting away even though I was still in the center of the school’s soccer team. It was honestly really hard back then.

• Did you enter a J-League team because you were aiming to become a professional player?

Yes. I did make the decision on the basis of becoming a pro but then playing soccer slowly started becoming unenjoyable. When I took a break after hurting my leg, the supervisor changed and everything else changed as well. I couldn’t keep up with the changes and I consequently dropped out not only physically, but also emotionally. Until then, I hadn’t done anything other than play soccer so when I quit, I remember feeling this really big hole open up inside my heart.

• It seems like that was the first time you experienced a feeling of frustration.

Yeah, it was my first setback ever. Following that setback, one day my friends and I were casually like  “Let’s start a band” and we just went with that flow. That was how I originally got my hands on a guitar. Even now I can vividly remember the first moment I held that guitar and played Do Re Mi Fa So La Ti Do on it with my clumsy hands. In that moment and despite being just a kid, I saw an image of myself in a really huge stadium performing in front of so many people. I thought “This is it!”. After that, I began seriously playing the guitar every day and I started having these vague thoughts of “Will the guitar help change me?” and “Will the guitar help bring me somewhere?”. It felt exciting and gave me a baseless confidence.

• From then, how did you polish your guitar craft?

I constantly played it but my basics were all self-taught. That’s why I still have some reckless parts but to be frank, those who started from the foundation are thousands of times more skillful than me. However, I didn’t start playing to become skillful, I just wanted to fill the hole inside my heart. The hole was grossly big and that just goes to show how much I was consumed with soccer. I’m someone who by nature likes to surprise and startle others. Ever since then, little by little, through the musical instrument that is the guitar, I wished that I could excite and get the hearts of people worldwide racing and so, share these feelings through my live performances.

• Once you are occupied with the guitar, have you felt like you’ve forgotten about time while you are playing it?

Yes. I think it’s my personality. Basically, when it comes to clothing, meals and even my hobbies, once I’ve decided on something, I think I’m the type to stick to it. Even when it comes to language study and also everything else, I believe that learning is something that doesn’t end

.

• After getting your hands on a guitar and becoming engrossed in it, what was the first step that got you to not end the guitar as just a hobby and change it into your calling and livelihood instead?

I first started playing the guitar at 15 but when I was 17, the senior who first showed me the colour of music passed away. He had no eyebrows, carried a mohawk and was a hardcore person who had this unapproachable air about him. To me, he was an elder brother-like existence who granted me the opportunity to listen to various kinds of music. Until then, I had never experienced losing someone close to me like the way he was and I was shocked at how the same sceneries and places could look totally different afterwards. After that, I just didn’t want to be there anymore and for this reason I left for Tokyo.

• So, the death of your senior was what drove you to go to Tokyo.

I made up my mind on that day itself. I got on a night bus and I think I reached Tokyo Station at around 8 in the morning. From there, there were even times when I was living by camping out. At that time, because I was in such a state, live houses let me in a lot and there I got to make a lot of friends. I also became a member of the band Dué le Quartz then. I didn’t plan on joining them at first, but the members, who were all 3-5 years older than me, were immensely warm. As it was soon after the death of the senior whom I adored, I thought that I’d be at ease if I were with them.

• And you’ve been in Tokyo ever since you became a member of that band.

I was active in the band for around 2 years. I’ve always thought that we might as well set out for the world if we’re gonna do this, but it was hard to share that same viewpoint with my band members. I believe that when being in a band, ideals is the most important thing to have after synchronicity and this also applies to groups and corporations. While people generally have different values, and it’s not wrong to want to properly make the people right in front of you happy, but in spite of all that, I feel that it’s significantly important to have a common sense of purpose. Towards the end, as we developed a difference in opinions, we finally decided to break up and as a result, I went solo.

• Having experienced both being in a band and going solo, have you had different thoughts like “Going solo is good” or “Being in a band was great”?

Both have their own pros and cons. It goes without saying that as a solo artist, everything is on me and it’s hard being so but it’s worth doing considering how when I do something, I will get back as much as what I put in. In a band, having 2 people is better than one and having 3 people is better than 2 because of the exciting chemistry that it could give rise to. Being in a band is fun in that sense. Even for me, although I’m a solo artist, I’d very much prefer working with a lot of people, including my staff and producers, over doing everything on my own.

• In the time after leaving Dué le Quartz and starting your solo activities, were the conditions already set for you from the beginning?

Since I had a lot of fans who were supporting me through difficult times, I started creating pieces for my solo activities as soon as we confirmed the band’s disbandment. For my first show, I got to perform at Shibuya Town Hall, something that the band didn’t get to do. The second show was an open-air one (in Hibiya Open-Air Concert Hall). The quality was definitely not high but more than anything, I had people who were waiting for me. So, I continued on with the will and thoughts of “I’ll continue tumbling along, even if I have to do it on my own.” and “No matter the form, I’ll continue creating whether it’s something or other.” Thinking back now, I did pretty well.

• Did you not have any doubts when you went solo?

Yeah, I did. Until then, I had never been in the stage’s center much and in a band not only could we share responsibilities, if someone wasn’t feeling, those who are well can help fill in. But when you’re a solo act, even though you have support members in the back, all the weight is basically still on you. Other than that, I was also really insecure when it came to singing. Even though I have to wipe my own ass and despite it being pretty hard carrying all kinds of burden so that I can stand on stage, I’ve gained a lot of things in return.

Translation by Nicki A. (@uchiakebanashi/@onakabel)

[ENGLISH TRANSLATION] MIYAVI x NATALIE.MU INTERVIEW: The first step towards “DAY 2”

MIYAVI - The first step towards “DAY 2” through collaboration with fabulous artists.

MIYAVI released his new album [SAMURAI SESSIONS vol.2] on November 8 th . A sequel to the “battle-style collaboration album” concept which was released in 2012, [SAMURAI SESSIONS Vol.1], in this album, one can enjoy a great diversity of artist collaboration including Daichi Miura, SKY-HI, EXILE SHOKICHI (EXILE, EXILE THE SECOND), VERBAL (m-flo、PKCZ®), Masato (coldrain), CHANMINA,
KenKen (LIFE IS GROOVE, RIZE, Dragon Ash), HYDE (L'Arc-en- Ciel, VAMPS) and Che’Nelle.
Having reached his 15 th debut anniversary, MIYAVI describes this work as the start of a new phase in his career. This time on Natalie Music, MIYAVI has not only commented on all the songs of this album, we also got him to speak at length on his ambitions for this new phase he calls “DAY 2”.
There’ll be surprising news in his statements too so do pay attention.

Interview/Article: Masaki Uchida 

Photography: Taichi Nishimaki

ENGLISH translation: Nicki A./uchiakebanashi

ORIGINAL SOURCE : natalie.mu

Exploding feelings of wanting to sing and cry out through the guitar

- Let’s start by telling us what motivated you to produce the second volume of [SAMURAI

SESSIONS]?

M: After releasing my previous work, the original album titled [Fire Bird], the feeling of “I want to sing, I want to cry out through my guitar” got stronger and stronger that I felt it exploding. It’s like I’ve acquired wings, and gained the confidence that “With this, I can already fly”. As a guitarist, from

now on, how do I want to go about creating? In that sense, just as I established in my 15 th anniversary best record, [ALL TIME BEST “DAY 2”], “DAY 0” were my indie days up til before I debuted as a solo artist and started my independent management. “DAY 1” is when I’ve become independent, changed labels, met BOBO (drummer), included “Slap” and establish my style as a guitarist. And now [SAMURAI SESSIONS vol.2] is probably my recognition of the start of my new phase as a musician thus being the start of “DAY 2”.

- Personally, are you able to grasp the changes between yourself in “DAY 1” phase and the you

who is heading towards “DAY 2”?

M: I guess the first change is in identity. Firstly, after I met the magnificent drummer known as BOBO, my identity as a guitarist became stronger. I learned so much from my sessions spent with him to the point that my sense of rhythm and beat went through a complete change. Moreover, after

meeting Lenny (Skolnik) and while collaborating with him, this time it was my melody representation

that changed. Not only did he remind me on the importance of capturing people’s heart, he also

reminded me on the importance of being catchy. If the rhythm is the vertical axis then the melody is

the horizontal axis or perhaps I should say for example, even in contrast with the length of one note

or the tone, a new identity will grow. It is so to speak, a sensation that is close to “Singing through a

guitar”. That had a big influence on [Fire Bird] and [Live to Die Another Day -存在証明-]. Oh, and

actually before [SAMURAI SESSIONS vol.2], an American version has already been made.

- Hmm? An American version, meaning?

M: In short, it’s a [SAMURAI SESSIONS] with American singers. I still can’t talk about the details but we might be able to release it in the near future.

- Oooh, that’s something to look forward to!

M: This year we’ve already done the band tour for my 15 th Anniversary, [Neo Tokyo 15] but since I want to deliver a work for my Japanese fans as soon as possible, we decided to first release [SAMURAI SESSIONS vol.2].

- I see. This time, compared to [vol.1]’s head-on- head sword-fighting battle feel, [vol. 2] gives a

stronger collaborative vibe. Even based on that, all of the compositions give the impression of

being considerably dyed with the color of MIYAVI.

M: Yes, that’s right. Honestly, it’s a fact that after including my signature tone and getting the

confidence to dye my own colors, my motivation for [vol.2] increased too. The intense battle feel

that was born in each session of [vol.1] were compiled successfully thanks to Seiji Kameda’s

producing skills. This time around, majority of the tracks were produced in Los Angeles by Lenny and other creators (※MIYAVI is currently based in Los Angeles). This becomes a point of difference from [vol.1] in the sense of production style as well as having the privilege of having the collaborating artists as the main vocals.

- For this work, other than Lenny, Jonny Litten’s name has been credited a lot.

M: Jonny’s not only the DJ who was on tour with me in Europe, he’s also the sound manipulating beat-maker. Lenny puts together the fundamental composition and Jonny’s part is to fine tune all that.

- When I saw you at an event the other day, I was impressed when the MC said “No matter how

many rounds you play the guitar, it’s super exciting”. I thought that it must be great to have

those words said to you even now.

M: That was certainly huge. Well, I’m sure that no matter what we choose to continue doing, there’ll be hard times but I think it’s a happy thing. I played soccer as a kid and suffered a setback then due to

an injury but I was able to change myself thanks to my encounter with the guitar. Then I got to sing

songs, appear in movies, and get invited for fashion photo shoots. It’s all great. But even so, from

“DAY 2” onwards, I’d like to return to and spread my dream and message of “Making the people of

the world dance with my guitar”. Of course, while showing respect to those before me, I’d like to

create guitar music that is unlike any other. I want to feel the beat with my audience. Naturally, I’ll

be singing too but at times, if I got vocals other than mine to sing, I would be able to play the guitar

even more freely on stage. [Vol. 2] is so to speak, a strengthening program for this kind of format.

Daichi Miura is an amazing hard worker

- So, from here on we’ll be discussing on the songs’ production. We’ll quickly hear about them.

First up is [Dancing With My Fingers / MIYAVI vs Daichi Miura]. This song’s music video was

directed by Takashi Miike, the director of “Blade of the Immortal”, whom you’ve worked with

for the film, right?

M: For the shooting, even though I went straight to the studio as soon as I landed from Los Angeles, I

was so fired up by Daichi’s dance that I gave my all doing my steps and as expected, I was tired out

(laughs). 

- His dancing is a given thing and it’s a bit late to say this but, Miura is really good at singing too.

M: Yup. And he even sings while dancing. He really is an amazing hard worker. That’s why this time

around, I really wanted him and requested him to join. Originally, we knew each other through Seiji

Kameda and while he’s not the secret guest for this track, Kameda played the bass for this song.

- The 2 nd song is [Gemstone / MIYAVI vs SKY-HI]. You met SKY-HI through a radio show, right?

M: Yes. And it’s been quite a while since we first met. He is now a solo rapper and working really hard. I wanted to show this hard-working figure to the young kids of today, especially to those whose

dreams and future are still vague and make a song that says “It’s okay to be this way”. Although this

song was used as music for the live stage, “Tokyo Tribe”, it’s been consciously incorporated with

burning energy, some variety of impatience and a street vibe.

- The 3 rd song is [Fight Club / MIYAVI vs EXILE SHOKICHI]. What is your connection with

SHOKICHI?

M: When I was invited to AbemaTV’s program, [BPM～BEST PEOPLE's MUSIC], we performed his song together. He is a very pure and passionate man. EXILE has a somewhat “male aesthetics” kind of image. That’s why I wanted to make (the song) with a vibe like the movie “Fight Club”, something like a “NO WOMEN ALLOWED” kind of image or a fighting in a ring kinda feel. Actually, at completion, he wrote more than twice the amount of lyrics but we had to cut some out. We sure had to deal with a lot of calories.

- The 4 th song is [Banzai Song / MIYAVI vs VERBAL (m-flo / PKCZ®)]. It’s been a while since your last pleasure-seeking song, right?

M: What’s more, it can be sung in karaoke and parties, a song that would never have been born from

my experience alone (laughs). The track is made up of composition that was put together by Luke

(Valentine) from VERBAL’s team, which was then pulled down with my guitar. VERBAL is someone who has strong global sensitivities. Even domestically, he knows what will work and what will not. Because it’s him that “Banzai” and “Kanpai” can be expressed artfully. Having a balance of taste for overseas and having a presence nationwide, I really respect that. Personally, I think he’s the nextgeneration Tamori* (laughs).

*Tamori is a Japanese TV celebrity

How established is Japan’s Hip Hop identity?

- The 5 th song is [Bumps In The Night / MIYAVI vs Masato (coldrain)]

M:The bassist, RxYxO, is a freaking pain in the ass (laughs), but the band is, in a good way, amazingly

intense. Originally, this song was meant to be the theme song for “Tokyo Vampire Hotel” (An original drama by Amazon Prime). The song has a somewhat poisonous and degenerate aspect and it

seemed to fit with Masato’s voice and image so, I offered him the song. I‘d love to play this song live

soon.

- The 6 th song is [No Thanks Ya / MIYAVI vs CHANMINA]. Female rapper, CHANMINA is currently 18 years old and is hot stuff. Not only her songs, when I looked at her Wikipedia page, I found it really funny that, it says her nickname is “Nerima’s Beyonce”.

M:If I had to choose, I’d say she’s Nicki Minaj though (laughs). She is, well, really cheeky and brazen (laughs). But inside, she’s actually a very sweet girl. She was in the ‘Battle of the Bands’ done during [NEO TOKYO 15], she’s fresh and a wonderful existence. This might be selfish of me to say but I have high hopes for her.

- Be it SKY-HI or CHANMINA, what kind of impression does MIYAVI hold about Japan’s current

hip hop?

M: think that a lot is changing. Then, there’s this firm identity and originality when it comes to words, probably on how to sublimate them. In America there’s Kendrick Lamar and the A$AP family and the new hip hop is rising as a whole. Previously, at a Beats and Balmain party, Migos was playing and Chance the Rapper also came. I really like G-EAZY, I even went to greet him. On how the Japanese would like to establish their hip hop identity, I myself think it has a pretty deep meaning. That’s because this fight is not only a fight with one’s self but it has a mutual element as well.

- The 7 th song is [Flashback / MIYAVI vs KenKen (LIE IS GROOVE, RIZE, Dragon Ash). It’s a

collaboration with KenKen.

M: Actually, about this song, we both entered the studio when there wasn’t even lyrics yet. After goingthrough several trial and errors, in the end I received everything we made and we decided I’d make a dish out of it. Which is why it’s not a genuine jam session and I might have done KenKen some wrong with this. He might have even thought “This is what it became?!” when he listened to the final product (laughs). But since we are both similar in the feel of our play and he left me a lot of good takes, while arranging (the song), the image for the song immediately appeared. It’s just that, earlier there was the matter of an anime theme song and I was inspired by that worldview when making this song. This song and [All My Life / MIYAVI vs HYDE] were the two songs that took the most time to complete.

A song collaboration with HYDE [Something you can sing around a campfire]

- Next is about that song, [All My Life / MIYAVI vs HYDE]. The comment we received from HYDE

for this song is “Once I sent him my ideas, he quickly arranges them. I’m probably out of

samples now (laughs)”.

M: Yes, I totally smashed them (laughs). To start with, HYDE had strong feelings of “If we’re gonna do it, let it be a song that can be sung around a campfire. A pop and catchy one would be great!”.

- It would be kinda interesting to have MIYAVI and HYDE sit around a campfire singing in real

life (laughs).

M: Right? (laughs) So then I said “Then, if you could please send me any kind of image”, and he sent me a video with a demo of him singing along to his own accompaniment. Then from there, I meddled

with it in various ways, from front to back. There’s probably 5 completed versions of the guitar riffs. I also played the bass, made a futuristic and even a glamorous pop version. It could even be sung at a

campfire if done in acoustic (laughs). Speaking off which, I created this song with the image of

people singing it in karaoke in mind. This might just be the first time I’ve done so (laughs). It’s really

catchy and by the time you realize it, it’s playing in your head. Even for me, it’s become one of my

favorite songs. Once again, I’ve learned that being catchy will reach out to a lot of people.

- The 9 th song is [Forget You / MIYAVI vs Che’Nelle].

M: Che’Nelle is actually my neighbor in Los Angeles. I have two daughters so, sometimes we watch

Disney movies together. At a certain age, girls will start dreaming and I wanted to make a bright song

that’ll move girls’ hearts and I got the opportunity to offer Che’Nelle the song. She has a different

stance from other idols. She carries a worldview where girls can naturally empathize with others.

She’s not Ariana Grande but I believe that in Japan, she is an outstanding singer. Besides, her singing

is outstandingly good. If anyone from Disney could give this song a listen and please use it for

anything (laughs).

- Lastly, [Slap It / MIYAVI vs雅-MIYAVI- ]. Basically, it’s a plot where you have a session with

yourself with a previous name.

M: Personally, I included this song as a bonus track. This concept of me squaring-off with my past self was actually not my idea but was something Lenny was super-duper obsessed with and had pushed for (laughs). Lately, if I’d have to say, my slap ratio has definitely reduced and the idea is to have my current and progressing self to battle it off with my past self through slap. This way, it’d be like I’m not alone. It’s actually fun once I started doing it (laughs).

From here on out is once again, total war

- “Long Nights” is going to be a limited edition bonus track but hasn’t it already been included in

your previous work, “Fire Bird”?

M: I forcibly pushed it right before it was completed. As I’ve talked about before with Natalie, I got to work with the people of UNHCR, an organization under the United Nations known as the United

Nations High Commissioner for Refugees. This song was created right after I got back from my work

with them in Lebanon. In the “Fire Bird” version, I am the one singing but I’ve originally wanted to

feature someone in it. Last year I saw the movie “Sonita” and was inspired by it and got to offer

Sonita, who is the movie’s main character, to sing in it. I heard that the movie has been showing in

Japan since October. By all means, do go and see it.

- “Sonita” is a documentary about Sonita, and Afghan refugee who escaped from the Taliban to

Iran, where women are forbidden from singing. In the movie we see her receive counseling

and advice as an illegal immigrant at an institution while also chasing her dream of being a

rapper. Was she extremely surprised by the offer?

M: Well, yeah she was definitely shocked (laughs). She’s an Afghan girl who immigrated to Iran and

with the movie being the impetus, she received a scholarship to study in a university in Utah, US.

She’s currently studying in the U.S. I got her to fly to Los Angeles for the recording. The other day we performed at a United Nations event and she was actually supposed to go to a film festival in

Toronto but due to the effects of Trump’s presidential decree, it seems that she couldn’t get her visa

approved. It’s a movie that leaves a powerful impact in many ways. It’s also something I’d like the

Japanese people to know about, and would like them to check it out.

- With this, we’ve heard about all the tracks. It seems that in the 4 years since “雅-MIYAVI- “

became “MIYAVI”, a lot has happened and there’s also been several changes. In [SAMURAI

SESSIONS vol. 2], we can say that as a result, it’s an album that showcases the splendid growth

of MIYAVI’s self-production skills and arrangement ability.

M: Thank you very much. While I did gain a lot of things but at the same time it became clear to me

that I really don’t need the things that are unnecessary anymore. This is in a sense, also the start of

“DAY 2”. I might have talked about this previously but even when faced with a bullet shot from a

tank, I’ll always use a katana to cut through. But even if I luckily manage to cut through several shots

or even a tank, in the end, they’re all limited battles.

- That’s somehow like Goemon Ishikawa from “Lupin III” (laughs).

M: Moreover, after that when I turn to look back, behind me there’s a swarm of tens of millions of tanks in reserve (laughs). It’s really not about winning or losing but I think in other words, it’s comparable to my idea of “making the world dance through my guitar”. What should I do to cross that? Of course, I’m always giving it my best but from here on out, I plan to once again face this all-out war.

- I see. I’m looking forward to seeing what kind of outcome will show and what maps will be

drawn until your 20 th anniversary.

M: My winter Japan tour – “DAY 2 Begins” will become another new challenge for me and I’m thrilled to see what kind of scenery “DAY 2” will bring about. By all means, I’d like everyone to come and experience it too.

[SAMURAI SESSION VOL.2] IS AVAILABLE ON I-TUNES STORE WORLDWIDE ! 

You can order the copy directly from JAPAN with sites like AMAZON, CD JAPAN, YES ASIA 

*special thanks for the vast translation work to Nicki A./uchiakebanashi 

[NEW SINGLE] MIYAVI - "AFRAID TO BE COOL / RAISE ME UP" 29.04.2016 + JPN TOUR

MIYAVI IS BACK!

New Single   "AFRAID TO BE COOL / RAISE ME UP" worldwide release has been just confirmed for 29 April 2016.

DIGITAL PRE-ORDER of the New Single and Download for the track 02.  "RAISE ME UP" will be available on national  iTunes Stores from 13 April 2016 

Download the brand new EP 『AFRAID TO BE COOL / RAISE ME UP』in  digital version available world wide

From:

== ITUNES STORE: LINK

== GOOGLE PLAY: LINK

Track-list: 
01. Afraid To Be Cool
02. Raise Me Up
03. Afraid To Be Cool（Seiho Remix）
04. Raise Me Up（Jonny Dope Remix）

* The song "Afraid to be Cool" has been used as BGM for  MIYAVI X ASAHI BEER  TV CM
 * Remixes are done  by the up-and-coming artist Jonny Dope from L.A and renowned Japanese artist “Seiho”

Teaser Video:
Promo for the song " RISE ME UP"; the video is in collaboration with the genius creator “Fantasista Utamaro”, who’s widely known for his creations in the fashion, illustration and design world. The finished work tells the story of MIYAVI who has entered into a brand new era.

MIYAVI Japan Tour 2016 "NEW BEAT, NEW FUTURE"

2016年9月19日（月・祝）北海道 札幌PENNY LANE24
2016年9月21日（水）宮城県 Rensa
2016年9月22日（木・祝）石川県 金沢EIGHT HALL
2016年9月24日（土）愛媛県 WStudioRED
2016年9月25日（日）広島県 広島CLUB QUATTRO
2016年9月27日（火）熊本県 熊本B.9 V1
2016年9月29日（木）福岡県 DRUM LOGOS
2016年10月1日（土）大阪府 なんばHatch
2016年10月2日（日）愛知県 DIAMOND HALL
2016年10月10日（月・祝）千葉県 幕張メッセイベントホール

INFO from myv382tokyo.com & natalie.mu

[SUMMARY] MIYAVI - WE ARE THE OTHERS TOUR 2015 EU Photos-Setlists-FP

MIYAVIEU2015 Tour has just ended successfully!  The fifth European Tour of MIYAVI across nine countries was an incredible journey for both MIYAVI and us !

Everyone at the shows were able to witness the power of music, which united MIYAVI and us as ONE making the Lives be a very special moment.

MIYAVI at each performance shared his inspiring life philosophy together with his music and made the bond with his European audience stronger.

 The tour ended with a promise to live these unique moments again in more wilder and hyper way !

MIYAVIのヨーロッパツアーは、大成功のうちに終了しました！
合計9か国を巡った、MIYAVIの5回目となるヨーロッパツアー。MIYAVIにとっても、私たちにとっても素晴らしい旅になりました。

音楽の持つ力、その力によって私たちは一つになり、ライブ会場はとても特別な空間となりました。

MIYAVIは、音楽を通じて彼の人生観を私たちと共有し、ヨーロッパのオーディエンスとのつながりをより強いものとしてくれました。

次のツアーがもっとワイルドに、もっとハイパーになることを約束し、ツアーは終わりを迎えました。
皆さん、またお会いしましょう！

MAIN SETLIST MIYAVIEU2015 

Cruel
What's my Name?
Come Alive

(Into the red)
Secret
What a wonderful World
Calling (acoustic )
Cry Like this
Survive
Let Go
The Others
Horizon

ENCORE
Mission Impossible Theme
Futuristic Love
Day 1

Extra songs played by fans request:

Freedom Fighters  ( Cologne)
Chillin Chillin Money Blues (Strasbourg )
Itoshi Hito (Strasbourg )
Guard You  (Milan )
Selfish Love (Warsaw )
We Love You (Helsinki) 


LIVE PHOTO LINKS 
09/27 London, UK - Narine Chalabi Photography
09/29 Lille, France - Instants-live.fr
09/30 Cologne, Germany - Akataiyou-no-nihon.com  + Live report ENG
10/02 Paris, France - Chung Hee Jee - Photographer
10/04 Milan, Italy - Fabrique Milano
10/06 Strasbourg, France - [ no official photo gallery found]
10/08 Vienna, Austria - Asianstyle.cz + Live report
10/09 Budapest, Hungary - Barba negra
10/10 Warsaw, Poland - Asianmusic.pl
10/13 Moscow, Russia - Highdecibels.ru
10/14 St. Petersburg - Rockcult.ru
10/16 Helsinki, Finland  [ no official photo gallery found]
** Extra Photos & review : en-core.rocks ; Lucy E. Photography  

 FAN PROJECTS

We Thank all comyvz who has joined our FP and so made them possible! 
We were very happy also to find not European comyvz who flew from the another side of  the world to catch MIYAVI Live and share the moment with EU comyvz!  

9か国を巡ったEUツアーも無事終了！

それぞれの国のファンはもちろん、世界中様々な国からライブに集まったファンたち。
そして、ライブには参加できなかったけれど、インターネットやSNSを通じて、ライブの様子を共有した世界中のファンたち。

MIYAVIとMIYAVIの音楽で、私たちは一つになることができました。
この思い出をいつまでも大切にするため、ファンプロジェクトを作り上げました。

プロジェクトに参加してくれた皆さんのMIYAVIへの思いをぜひご覧ください！

どこにいても、MIYAVIと彼の音楽への思いは皆同じだと、このファンプロジェクトを通じて、皆さんの心に伝わりますように。。。

MIYAVI、私たちを一つにしてくれて、本当にどうもありがとう！

We are all different but we are ONE!

"COMYVZ Msg 2 MIYAVI " FP PHOTO GALLERY :
LONDON 
PARIS 
MILAN 
BUDAPEST 

"COMYVZ TRIBUTE TO MIYAVIEU2015"  VIDEO :

WE ARE THE OTHERS -  WE ARE ONE - WE ARE COMYVZ
Short footage, comyvz interviews & more  : WATCH IT !

Much Love to our worldwide family!

SEE U ALL NEXT TIME!

 

Banner Photos from MIYAVI STAFF !