Es VOL.33 新single“Nostalgia” and concert DVD Yuri Nakamura、Hitoshi Okamotointerview(second half)

●○ From music freak Es Vol.33

—something exciting, in a way. Since the chorus and beat are four-on-the-floor, we aimed for a mix that would make the most of those qualities. For the vocals, we also asked them to emphasize a “glamorous, airy vocal with a sense of openness.”

● The Music Clip uses CG imagery. How was the filming?
Nakamura: It was difficult. Since the entire thing was made with CG, I had to sing against a completely green background and perform various movements while filming. We had storyboards and received explanations beforehand, but it was hard to imagine what kind of scenery I was supposed to be in, and realistic images did not readily come to mind. The requests were very detailed—for example, to start looking around here and gradually raise my gaze while walking—so I felt as if I were acting like a professional actor (laughs). It was difficult, but it gave me an interesting experience in return.

● The metallic colors and textures match the image of the song very well.
Nakamura: We were the ones who initially requested a metallic and inorganic feel. Mechanical flowers and birds appear as symbols of that quality, while real feathers appear in contrast as something genuine. The story develops around the contrast between artificial and real things. I think the video brings out the cool, metallic side very strongly.

● There is a scene where everyone is running, and it was very memorable too.
Nakamura: We were actually running on a walking machine. It was not the kind with handrails you find at a gym; it simply had a rotating belt under our feet, and it was very frightening. The other three managed to do it, but I was wearing fairly high stiletto sandals and a relatively long skirt. I tried, but in the end I had to give up and say, “I can’t!” So I was the only one who did not get on the walking machine. I simply moved my feet in place as if I were running (laughs). It was moving quite fast, and they had prepared mats behind us and along one side in case anything happened, but there were no mats on the camera side or in front. When I started thinking, “What would happen if I fell this way?” and “If I fall, I must not fall forward or toward the camera,” I became frightened and ultimately had to abandon the attempt.
Okamoto: The biggest problem was that the walking machine was too narrow! My running also looked unnatural, but if it had been a little wider, I could have increased the number of rotations. Then it would have looked more natural, but they told us that if we increased the speed too much on that narrow belt, an accident could happen if we wobbled even slightly.

● You all looked very cool while running. I hope listeners will check it out in the Music Clip. Also, everyone except Mr. Furui looks directly at the camera. That was memorable too.
Okamoto: The problem is that Mr. Furui isn’t in that part!
Nakamura: You can’t tell when Mr. Furui looks at the camera because he’s wearing sunglasses!
Okamoto: He may be wondering himself why he isn’t in it. The manager said Mr. Furui still hadn’t sent back his approval, so perhaps he was debating whether to mention it (laughs).

● Mr. Okamoto, there is also a jumping scene.
Okamoto: Yes. That was the director’s request.

● Did you get it right in one take?
Okamoto: No, no, I jumped many times. I had to turn on top of a platform and then land while turning again, and even the angle of the landing had been specified. I kept thinking, “There’s no way I can do that!” I’m not a gymnast (laughs). I eventually managed to clear it after several tries, but my supporting leg felt strange for a while after filming (laughs).

● That sounds difficult.
Nakamura: We have started being asked to perform advanced physical techniques (laughs).

● Music Clips have changed since your debut too.
Nakamura: Yes. Apparently it is no longer enough just to stand there and sing (laughs). I have started thinking that I may need to train a little. Perhaps I need core training!

● Now, the second song, “Kaze no Naka no Orgel,” is classic GARNET CROW. What should listeners pay attention to?
Nakamura: This was Mr. Furui’s top choice. In fact, the two songs competed over which would become the single. But I wanted to go with something that had a slight twist rather than something so classic, so I persuaded Furui.

● When the arrangement was finished, did the tempo and atmosphere differ much from the demo?
Nakamura: Not really. This song is a classic GARNET style ballad, so I think listeners can settle in and listen to it at their ease with a sense of reassurance.

● The lyrics also contain a series of beautiful phrases that link closely with the melody. What was it like to sing them?
Nakamura: There is a phrase in the lyrics, “A red tail sways in the goldfish bowl (□).” When I first saw the lyrics, I did not picture the ordinary goldfish you often see at festival goldfish-scooping stalls. Instead, I imagined a type called a ranchu, like a king among goldfish, with bumpy growths on its head. From then on, I sang while picturing that ranchu swimming elegantly inside the bowl.

● I see. Did the vocal recording go smoothly?
Nakamura: It was easy to sing overall, but the phrase “ashita o ureu” in the final chorus was originally sung in falsetto at the demo stage. I had imagined a fairly gentle, airy ballad, but the backing track that came back was carefully and solidly produced. I felt that falsetto would be buried and lose to the arrangement, so I suddenly changed course and sang it with a stronger voice instead.

● I think the guitar solo is also one of the song’s highlights. What was it like?
Okamoto: You could say it was the same as usual. I simply played the role I always do: taking the baton from Nakamura’s main vocal for a moment, handing it back to the guitar, and then returning it to the main vocal again.

● This is another song that makes me want to hear it live with strings.
Nakamura: Yes. This time, rather than a quartet, I would like to have many more players. I imagine singing with a large group of string players spread across the back of the stage. I want it to feel grand!

● The third song, “Happy swallow,” is very pleasant to listen to, partly because the lyrics repeat in the chorus, and it seems like it would really lift the mood live.
Nakamura: Yes. I created it while imagining exactly the kind of moment when the audience is getting excited live. Within GARNET CROW, it is positioned as a pop killer track. I imagined something with a slight bounce, or a feeling of flying, like everyone making a lively commotion together. Furui seemed unsure where to settle the arrangement, but I think it ultimately became a pop song with a GARNET flavor.

● The “pa-pa” and “fluffy” chorus parts are cute.
Nakamura: As soon as I finished recording the main vocal, I immediately imagined that I absolutely wanted to add a fun chorus to this song.
Okamoto: The chorus sounds like bubbles, which is nice. But I honestly think it is amazing that, instead of saying, “Ah, I’m tired,” after finishing the main vocal, she immediately performs a chorus that uses that much energy.
Nakamura: What?! For me, having something like that is exactly what lets me work hard on the main vocal. The main vocal requires tension and intense concentration, and it puts a great deal of mental stress on you, but the chorus is fun because you can play around freely without any stress. It feels like enjoying music casually. I also like thinking of chorus ideas—if the sound is moving this way, the chorus should go that way; if the guitar rises, I might drop down and try a unison line. When an idea comes to me, I play the keyboard myself to check that it does not clash with the chords, and if it is okay, I try singing it. That is basically how I work.

When I sing the main vocal, I listen mainly to the chordal instruments and mute the obbligato guitar and guitar solo while recording. The chorus is the first time I can bring up and hear all of the sounds. Choruses such as “ooh-ah” and “pa-pa” are, in a sense, part of the backing track as sound effects, so it is extremely enjoyable to listen to the overall balance and build the sound of the backing track separately from the main vocal.

● “Happy swallow” is included only on the regular edition, but with these three songs, I think this release gives listeners a well-balanced sense of GARNET CROW’s appeal. I hope people will listen to it.
Nakamura: Yes, I hope everyone will enjoy this pop side of us. Some people look to GARNET CROW for transience and fragility, but recently I have strongly felt that many people also enjoy bright, pop songs like this. I hope you will look forward to it.
　　　　　　　　（INTERVIEWED BY YUKARI MATSUBARA）

NEW SINGLE “Nostalgia”

■Limited First Edition: CD + DVD
GZCA-7168　￥1,365 (tax in)
1. Nostalgia
2. Kaze no Naka no Orgel
3. Nostalgia -Instrumental-
☆ The limited first edition includes a DVD featuring the “Nostalgia” Music Clip.

■Regular Edition: CD only
GZCA-4136　￥1,260 (tax in)
1. Nostalgia
2. Kaze no Naka no Orgel
3. Happy swallow
4. Nostalgia -Instrumental-
☆ “Happy swallow” is included as track 3 only on the regular edition.

LIVE DVD [GARNET CROW livescope 2012 ～the tales of memories～]
GZBA-8024–25　￥5,250 (tax in)
【Track list】
01. Misty Mystery
02. Rhythm
03. Genesis I
04. Naked Story
05. Memories
06. Yofuke no Ryuuseitachi
07. Go For It
08. Eiyu
09. Seijaku no concerto
10. Namida no Yesterday
11. Kimi Tsuresaru Toki no Otozure o
12. Umi Nari
13. nonsense
14. Lonely Night
15. wish★
16. Mawarimichi
17. live
18. Fall in Life ～Hallelujah～
19. Smiley Nation

＜ENCORE＞
20. JUDY
21. Koyoi Eden no Katase de
22. Spiral

● What scene from the London Olympics left the strongest impression on you?　Okamoto: I want to say soccer, but I would have to choose Kohei Uchimura’s individual all-□ in gymnastics. I was nervous because the vault was his first event, but he nailed the parts where he had to deliver □