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Go!Go!GUITAR, March 2018
During this milestone year marking the 10th anniversary of their major label debut, SCANDAL will be releasing their 8th album titled 『HONEY』, a pun for 8/21, the date of their formation. They too have talked about this, but no matter how their career advances, they won't lose their longing and emotions for glittering rock music. It is a masterpiece where even their existences are felt. We had them speak plenty about 『HONEY』 that will continue into next month's issue.
We wanted to put in some degree of flashiness and chemicals with momentum
―Was the album production period during the middle of SCANDAL's 47 Prefecture Tour (2017/3~7)?
MAMI: We included two new songs in our best album 『SCANDAL』, and starting from then we accumulated songs in anticipation of our next album. So, it feels like we took a long time making 『HONEY』.
―Did it feel like you were accumulating good songs rather than going with a concept?
MAMI: We had songs stocked up from last year, so the production times, strictly speaking, are all over the place, but when we gathered them together, there was a large number of songs related to "love." That one axis was set into place, and it came together naturally because we made songs to surround that.
―There are many feminine lyrics that are about love, so I wonder if women will symphathize with them.
RINA: We don't write lyrics aimed towards women, since making music that can be enjoyed by all kinds of people regardless of gender, age, or nationality is what we keep in mind. So, what we were most conscious about while making this album was that it had been 11 years since the band formed, and that this would be released during the 10th anniversary of our major label debut. We wanted to make something that was packed with a "We can still attack and challenge ourselves to grow our rock music after 10 years!", "Let's do this, SCANDAL!"-like excitement. This was the first time we wanted to make a striking album with our sense of being a band on display, so we collected tunes that were like that, broke the standard concept of having to write 12-13 songs just because we're making an album, and packed in 10 of the strongest songs.
―When I listened to it I really felt your initial impulses, and also felt that you chose the best 10 songs.
RINA: We have over 100 songs, but because at our live shows we want to carefully play each and every one of our older songs, we had a desire to shape the number of songs according to how we are now rather than increasing our number of songs unnecessarily, and properly shaping what matches our current spirit. But, being able to make such a fresh album in this career of ours is a happy thing. It's packed with a force that'll make you think, "Isn't this a debut album?"!
― 『YELLOW』, released in 2016, was the first album where you did all of the lyrics and music yourselves. I didn't think such a fresh album would come after that.
RINA: I think there have been reactions like that because it was an album that, in a good way, was lenient and had a strong image to it that was rough and relaxed. We wanted to put in some degree of flashiness and momentum as well as a chemical element into 『HONEY』, so I think it turned out to be an album that highlights the strengths of the band SCANDAL.
―HARUNA, what did you think when listening to the accumulated songs?
HARUNA: I think it's an album with no sense of unity―in a good way―and is packed with our early intentions. Although we collected songs with all sorts of genres, it felt like we were able to create the king of all genres.
―And yet, all of them are "SCANDAL."
HARUNA: Yes. We think it's definitely all SCANDAL.
―What do you think, TOMOMI?
TOMOMI: It has a very private feeling to it. They're events that happened within a few kilometer radius from our houses. I think it's an album that has our experiences and imaginations. It also includes the sounds we like, as well as the sounds and words we hear in daily life.
―That's definitely true for 「Mado wo Aketara」 (Open a Window) featuring lyrics and music by TOMOMI.
TOMOMI: To just open a window, you don't have to leave the house for that (laughs).
HARUNA: Isn't that a song from years ago that was set aside?
TOMOMI: It's a song that was made before 『YELLOW』 and had been put aside the whole time. Recently, I've been obsessed with songs that get stuck in your head. I took hints from them and made this song. It's a song from when I became a nervous person and began to spin words that came out in large drops then. I felt very happy and refreshed when it was able to take shape.
RINA: It really fits the atmosphere of 『HONEY』 and is a song we'd always wanted to do someday.
―It feels like you were singing in all sorts of voices on 『HONEY』. How was it on the vocals side?
HARUNA: There are also songs that don't include me singing, but everything was a new challenge for us. The way we sang each song too, we sang all 10 songs with different personalities. Since I didn't write lyrics nor music this time, I was wondering how I would approach these songs written by the other members. I thought about what kind of protagonists and what kind of emotions they're singing with more than ever before. By being able to do that, I really fell in love with my singing.
―You only fell in love with it that recently!?
HARUNA: Including the process of making it, I was satisfied with my singing. Until then I was unsure and had been asking everyone for opinions like, "How should I sing this?", but this time I came to be able to suggest for myself, "This is how I want to sing!"
―It feels like your singing has changed since 「Take Me Out」.
HARUNA: My approach to singing changed starting from around that time. I also feel like the extent of my singing has also widened.
We struggled a bit and made this at the very end
―The album begins from your lead song 「Platform Syndrome」, a track that makes you feel a momentum and coolness that spectacularly represent this album.
RINA: That song was just barely completed on time. When we were one week away from the deadline, we wanted to make a song that would be the face of the album. We needed to make one, and we thought hard about what kind of song would be good. So, the kind we wanted to do the most right then was an attacking rock song with momentum. By going with one that was instantly catchy and easy-to-understand, we made a fast-paced rock tune that brings out all of that.
MAMI: We also began recording other songs, and while we had also decided on which days we were to record, we struggled a bit and made this at the very end.
―I thought that the second track 「OVER」 would also have been a good track to put as the first one...
MAMI: Actually, 「OVER」 and 「Platform Syndrome」 were written at the same time (laughs).
RINA: They were both finished in one day. The day after we completed 「OVER」 was when we completed 「Platform Syndrome」.
MAMI: It felt like we could still make more. These are songs that we probably couldn't have written if we weren't pressed for time (laughs).
RINA: I'm glad we were able to do them (laughs).
HARUNA: It's awesome because they are properly-made songs. When I was sent these two songs, I thought, "This is so awesome!" (laughs).
MAMI: Thinking about it now, it feels like, "What kind of album would have been made without these two songs?", right?
TOMOMI: 「Electric Girl」 might have been the first track (laughs).
RINA: That's a flashy one.
TOMOMI: Because these two songs are songs that we didn't plan to put on the album in the first place, I had wondered if the album would have stayed in the form it had been in. If that was the case, then its outline wouldn't have been clear―rather, it might have turned out to be an album that was vague. But, when I was sent these songs, I was convinced that the album was finally finished.
―「Platform Syndrome」 is also a good title and features lyrics about lost love, but the moving-forward feeling makes it an appropriate first track.
RINA: The day after breaking up with your significant other might be the most painful. You're in a dreamy state of mind and can't believe it. Rather, it's that fluffy sort of feeling. Also, I've always thought that a platform (=station) is where tens of thousands of all kinds of people go back and forth from. Each of those people has their own life. What I've thought about the most are where they're coming from, where they're heading to, what they're feeling. Trains too carry and move many people. When the melody from MAMI arrived, that atmosphere really came to mind. So, I quickly wrote out the lyrics that would fit with that image in about 30 minutes.
―You had those kinds of stories about the first two tracks! The fourth track 「Oh! No!」 features MAMI on vocals and changes from an atmosphere with momentum to one with less of it.
MAMI: This song is also one that was made during 『YELLOW 』. Everyone liked it and wanted to try it out on this release, but it's a nonsensical song.
TOMOMI: We first recorded it with HARU's vocals, but as it was MAMI's song and she suited the protagonist of this song's lyrics, we talked about making it a song with MAMI's vocals and then changed it halfway through.
MAMI: It felt like, "I'm going to sing!?" (laughs). I sang it relatively proper-like on the recording, so I want to go all-out when doing it live.
―It's impressive that 「Midnight City」 features RINA on vocals [during the verses] and switches to HARUNA during the chorus.
RINA: While I was writing love songs, I wanted to write about many things, and I really took into consideration what I could write about that'd be fun. So, this is a song that's about battling against yourself. When I'm doing things like taking a bath, I'm always thinking about things like, "Even though I want to become even better, why am I like this!".
MAMI: You're battling (laughs).
RINA: Every day I compare myself to others, wonder why I can't do something after 10 tries that takes everyone else one try to do, or am frustrated with myself. I thought that, although there are many times I don't like myself, it'd be great if I could sing about how it's okay for me to have a day where I can make sure be kind to myself too.
―There must be many people who can sympathize with those kinds of feelings. When music makes you forget about things like that, you sing along to the chorus, right?
RINA: I think music is the best escape, something that makes it okay to feel spoiled, and it's not unfashionable nor uncool. I want people to love themselves even more.
―By the way, how will it go live?
RINA: I'll sing while drumming!
HARUNA: Wouldn't it be the first time you'd be drumming while handling main vocals?
RINA: The only instrument I've played while doing main vocals is a guitar...
HARUNA: It'd be really tricky (laughs).
RINA: I'm a tricky drummer (laughs), but I'll practice.
―Speaking of tricky, how about 「Electric Girl」?
MAMI: It has impact (laughs)!
RINA: We were aware of that while recording it! It's so awesome. It's a playful song.
HARUNA: I wonder how it'll go live?
RINA: I think it'll be exciting.
MAMI: Because it has our feelings of wanting to play a live show. It'd be great if everyone could sing it with us.
―Like the 《Isseーnoーse》 part?
RINA: We want everyone to sing that part during a show. Also, closing the album out with 「Koisuru Universe」 is the best.
MAMI: It's a great closer.
RINA: We wanted to close it with a happy feeling. Although it's a love song, it has the line 《A perfect universe I met you in》 in it. It's a universe we met those who picked up our CD in. That's why we wanted to close it with a good song.
―You'll also be going on tour in support of the album.
HARUNA: Next up is our first hall tour in three years.
RINA: We're currently beginning to think about the set list a little at a time, but we want to play live shows in a format that visually conveys what we wanted to do on the album.
Platform Syndrome MV shoot close-coverage report!
The music video shoot for 「Platform Syndrome」 was held at a studio in Tokyo. With the 360° camera work and their longed-for "using sparklers" performance, a MV that colors the world view of this song was completed.
The members stood in a circle and were shot in a 360° angle from the center! They completed a never-before-done lovely music video that is cool and dramatic.
Presenting the world of the song through sparklers and lighting!
Comments: It became an intense, cool MV
―Did the idea for the MV come from the members?
RINA: A while back we wanted to shoot a cool MV with a performance that had a heavy impact, so we conveyed our views to the director too. We had them bring out a platform-feel with the lighting. Sparks shoot out during the latter half, showing a flashiness and coolness. Overall, it turned out to be an MV packed with the band's coolness. We rocked out plenty this time.
HARUNA: Sparks that weren't hot even if you touched them were flying around. But, the muscle pain sucked (laughs).
RINA: The next day, right! So, the next day we played a joint live show with KEYTALK while having really bad muscle pain.
HARUNA: And that healed the pain (laughs).
―It was nice to have the studio set depicted just the way it is.
MAMI: It's like everything was shown, even the parts you can't see!
TOMOMI: This was the first time having that director shoot us, but they matched the tension we talked about, and it felt like we were very compatible.
HARUNA: His name's Kei Ikeda, and he's shot MVs for THE ORAL CIGARETTES and such. He shoots bands on a routine basis.
RINA: It has a pretty intense, cool feel to it.
