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【En'Cell♰Dis'Dein】 「Kumo Onna no KISS」

This week, we had the opportunity to both interview 【En'Cell♰Dis'Dein】 and asked them to provider liner notes for each track on their upcoming single Kumo Onna no KISS (蜘蛛女のキス). It has been a while since vkgy has last conducted an interview, so we hope you enjoy reading!

Published発売
Conducted取材
Seraphim
Contributors寄稿家
inartistic
SECOND MAXI-SINGLE

Kumo Onna no KISS (蜘蛛女のキス)

Credits: [all music] KAIRU (カイル) / [all lyrics] Sou (宗)

  • Please introduce yourselves and your role within 【En'Cell♰Dis'Dein】.

    [Sou] I am the vocalist Sou (宗), with a feeling of balance I will answer everything seriously.

    [Kairu] I am the guitarist and leader of the group ,so I handle production, art, and distribution as well.

    [Kiyoshi] Yeess, I'm Kiyoshi and I play bass in 【En'Cell♰Dis'Dein】!!

En'Cell♰Dis'Dein group photo

En'Cell♰Dis'Dein group photo

  • Each of you have a varied history within the music industry. How did you come to become a part of the visual-kei scene?

    [Sou] When I was a college student I was doing a cover band with songs of Raphael, that was the start probably?

    [Kiyoshi] Before I knew it... I like flashy and striking bands so!

    [Kairu] That dream started at age 12 from hide and after a bunch of crazy events and keeping at it somehow I ended up here.

  • Your name is very reminiscent of 90’s visual acts, especially with how it is typeset. Is there any special meaning behind it?

    [Kairu] Think the opposite of the name ∀NTI FEMINISM (アンチフェミニズム) .

  • Who are your biggest influences?

    [Kiyoshi] MOTLEY CRUE etc...

    [Kairu] hide, Dué le quartz, SUGIZO, MALICE MIZER, Prince, Trent Reznor.

    [Sou] Personally in this band I am feeling the influence of deadman.

  • Kumo Onna no KISS (蜘蛛女のキス) {The Spider Lady’s Kiss} is your second physically released single. What were some of the challenges you’ve faced creating this work, especially in such an unpredictable time? What were some successes?

    [Sou] Since Seishinjousha Sentimental was made before the 2 other songs I had to make those other songs' lyrics tie up with the world in this song.

    [Kairu]: It is a really complicated song so our studio drummer in Italy had a really hard time with this song it seems, but it turned out great!

    Even when I listen to it now I think "How did I make this weird child of mine?..." Maybe it is not an easy song to digest but the reactions have been great.

    Our support drummer Hakuya is also challenged by the odd non-vk style of drums I made but is also happy for that chance to learn, I hope fans can feel a similar thing.

    [Kiyoshi] I played the bass with a feeling like I am about to be killed by that spider woman lol

    The rhythm is difficult so I recorded many takes but after all of that the best take was from when I was drinking Jack Daniels.

  • Kneuklid Romance has also released a song by this name. Were they an inspiration?

    [Kairu] I imagine they had the same source as me, the movie from Argentina "El Beso De La Mujer Arana/Kiss of the Spider Woman" was marketed in Japan as "蜘蛛女のキス."

    While I studied Kneuklid Romance's discography as a teen I honestly have little memory of their works since I listen to too much music.

2021-04-14
【En'Cell♰Dis'Dein】【En'Cell♰Dis'Dein】Kumo Onna no Kisu蜘蛛女のキス
  1. Seishinijousha Sentimental (精神異常者センチメンタル)
  2. Kumo Onna no Kisu (蜘蛛女のキス)
  3. Betsujigen no Reibyou (別次元の霊廟)

Now we would like to share some liner notes before returning to the remainder of the interview questions. The band has graciously taken the time to write about each song in detail to add some more color to their creation.

  • M1

    Seishinijousha SENTIMENTAL (精神異常者センチメンタル) {Psychotic Sentimental}

    [Sou] At lives this is the time to dance.

    [Kairu] I love playing the intro part of DEAD END's Embryo Burning and, though very different, I felt some connection with what those roots when I made the intro guitar line.

    This was a very easy song for me to make and I recorded all the guitar and scratch bass line within around 3 hours maybe. This song seems to be the most popular live so far (and also on streaming services).

    [Kiyoshi] I played it with the feeling of a menhera girl(^_-)-☆

    Ed. Note: "menhera" (メンヘラ) is a slang term for someone "troubled" or "emotionally unstable", derived from the portmanteau of the words "mental health", and includes the counter-culture aesthetic that has arisen around it.

  • M2

    Kumo Onna no KISS (蜘蛛女のキス) {The Spider Lady's Kiss}

    [Sou] This is the kind of song I've always wanted to make so I feel addicted to it.

    [Kiyoshi] As I said before, I just played it with a feeling of maybe being killed by that spider woman!

    [Kairu] I made this song during the start of the band but felt it was too difficult to use from the start. Finally, a year later, I am happy it is out and better than I hoped.

    Its feel was inspired by the mood I got watching the murderess in the film "Gelatin Silver, Love". There is a kind of desperation and churning about in a spiral feel, that surely came from my years working in the red light districts of Japan watching people stuck in continuous destructive loops of debauchery and chaos.

  • M3

    Betsujigen no Reibyou (別次元の霊廟) {Mausoleum of a Different Dimension}

    [Kiyoshi] I tried playing the bass while remembering my grandfather!

    I was a child who liked my grandfather the best, so...

    [Sou] It's like a vocabulary test.

    [Kairu] After I got my hands on my ESP guitar and said goodbye to my similar Edwards guitar, this song was created suddenly right after I plugged in the ESP for the first time.

    I knew the song was good but am very surprised it turned out to maybe be our best song. Often I'll walk through an old cemetery near my home at night when I listen back to new demos and there are some very beautiful mausoleums there that inspired me.

    Also, when I was 5, I had reoccurring dreams that I went to another dimension by going under a bridge on a waterway that was on our farmland. I really cant explain how much of an impact that was to me on my life, especially at a young age it was so odd.

    Sou's lyrics are really amazing. I was so impressed!


  • You have also recorded a music video for this single’s title track. Tell us a little bit about what that was like.

    [Kairu] Sou found the location so I felt from that we were able to make a video that fit such a complicated song.

    I felt like I was T.M.Revolution, or SUGIZO during Jesus, with all of that wind though! I am so proud of that video and song.

    Hakuya and I kind of got lost a bit when going to pick up the model, though that was fun!

    [Kiyoshi] On the day of shooting the wind was extremely strong...

    But that gave a really good effect. My only regret is because of that I could not breathe fire as I planned.

    [Sou] I wanted to see Kiyoshi breathe fire...

  • Do you have any upcoming events you would like the readers to know about?

    [Kairu] Next is Nagoya Music Farm with my friends in Sacrifice, please check them out as well!

  • This question is for Kairu in particular. How would you compare being a musician in the visual-kei scene with one in the American scene? Are there unique obstacles you’ve come across since relocating to Tokyo?

    [Kairu] Maybe that requires a separate article...

    After I got here I met many foreigners who have been here for years but did not really know Japan, so to live outside of that bubble I moved to the countryside and faced many difficulties that made me strong. Working in visual-kei in Tokyo as a foreigner I always feel I have to work harder than anyone else but that was similar to my experiences in America where there are lots of unique racially charged views that made my working towards a dream in VK super "weebtastic". I embrace all negatives and positives with a sense of humor and realism so maybe doing that dream in America was more difficult.

    Here my being American is not really a problem and many famous musicians I respect have been kind to me recognizing the sacrifices I made to move here and fight towards this dream. It is a lonely hard life but I love visual-kei more than anything.

  • What is your take on the scene as a whole being more ready to embrace digital distribution? How do you decide which releases get physical pressings versus ones that remain only on streaming services?

    [Sou] Actually I think streaming makes the value of physical media even greater!

    [Kiyoshi] I think it matches the age. However it is kind of dull...

    I am someone who likes CD and record jackets so that is one form of the art, right?!

    No matter how many times you look at it you are going to enjoy the artwork of your favorite bands(^^♪

    [Kairu] Here physical media is still strong, but recently I've seen the reality for the next generation not even having CD drives on their computers, so the writing is on the wall.

    As a fellow foreign vkei fan, and someone who respects Trent Reznor and RADIOHEAD's experiments with music distribution, I know that if a fan enjoys the music they will support us in any way they can.

    Streaming services and big labels cut deals that leave small artists receiving crumbs: this needs to change as it is a bullshit system.

    Slowly we are trying to feel out what works best but we are really grateful to the fans who helped buy out all stock of the 1st CD [Ed. Note: THE MISSING DEAD, released in October of 2020]. I feel tangible physical forms are always going to be important, perhaps a physical booklet to go along with the digital files you buy is the future. Trent Reznor did this with a recent Nine Inch Nails release and I feel this is maybe the future.

    So share and download rips, buy downloads or stream, and (if you can~) get the CDs before they go out of stock. Whatever is cool with me.

  • What’s next for 【En'Cell♰Dis'Dein】?

    [Sou] I want to see Kiyoshi's fire breathing at our live.

    [Kiyoshi] Personally, I'd like to hold more lives but the current circumstances of the world right now are as such, so...

    [Kairu] I recently wrote out the next release in notation form, which is not normal for me. The songs are very catchy but still dark.

  • For our parting question, please give our readers a final message.

    [Sou] I hear there are many supporters overseas/ Let's meet at our tour overseas!

    Of course, thank you to everyone in Japan too.

    [Kairu] Thank you for having some interest in our music enough to have read this far. I am always going to keep a level head as a fellow VK fan and view all other foreign fans as family. Hopefully we can go to your country someday or maybe you can visit our world view at a livehouse here!

    [Kiyoshi] Right now there are restrictions at lives because of Corona but when the time comes lets get rid of those!

    Join us at the Nagoya Music Farm live on April 25th (Sun) !

    Please continue supporting 【En'Cell♰Dis'Dein】 from now on.


Thanks to Sou, Kairu, and Kiyoshi for their participation.

This interview was coordinated and produced by Seraphim.

If you liked this interview, please support us by liking, sharing, and commenting! You can also support us at Patreon. If you have questions or comments, feel free to contact us at vkgy.official@gmail.com!

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