Orkus Feb. 2007
MALICE MIZER
Sleuthing Human Nature
There is no need to introduce Mana anymore. After he has been in spotlight for the last two years, most likely everyone knows the eccentric Japanese man, who has completely devoted himself to the task of creating his personal world of beauty and darkness – and live it. His work with Moi dix Mois fascinates critics and colleagues and last summer he had his festival-debut as one of the main acts of the Wave Gotik Treffen (Wave Gothic Meeting) in Leipzig. Now, after he’s made himself known with his current solo project, he is also ready to tell us his story.
In the nineties, Japanese musicians began to rebel against the restrictive and conformistic society. To reach complete artistic freedom they broke the genre barriers and formed their own, individual style from the elements that suited their creative vision best. Many added a visual dimension that together with the music presented a higher band concept. Nobody pushed that radical new idea further than Malice Mizer (say “Marisu Miseru”) with their sounds inspired by classical music and extravagant costumes. Their most unusual work set a whole new measure for an entire generation and even though the group is on pause since 2001 and has never performed outside their home country, it is still inspiring artists all over the world. Recently Malice Mizer’s 1999 masterpiece Bara no Seidou is released in the form of a luxerious European first release, that also includes a collection of breathtaking, beautiful clips. Orkus is asking the bandleader and co-founder Mana about his thoughts.
Orkus: Recently the German label Trisol is releasing Malice Mizer’s album Bara no Seidou as well as the video collection Cardinal for the first time in Europe. What kind of feeling does this evoke?
Mana: I am very happy about it, because this is the chance for those who only know me within Moi dix Mois to also learn about my story.
Orkus: What does the name “Malice Mizer” stand for?
Mana: I chose this band name to express the pain and sadness within the depth of our hearts and to explore the depth of the human soul.
Orkus: Malice Mizer are called a visual-kei band. Do you agree with this? And – if so – why have you chosen this form of art to express yourselves?
Mana: I do not care what kind of view people have about us. I think Malice Mizer is no longer a band, but an alliance of artists.
Orkus: Malice Mizer’s concept is “What is human?” How does this concept show in your work?
Mana: The concept should be felt by everyone themselves while listening.
Orkus: Malice Mizer were not only famous for their unusual sound, but also for their elaborate costumes and stage shows. What made you emphasize on the visual component this much?
Mana: That was needed to express and build Malice Mizer’s view of the world.
Orkus: From the founding in 1992 to the release of Bara no Seidou anno 1999 the sound of Malice Mizer has changed several times. How would you describe the musical development that the band went through?
Mana: There was always a change because for every work I had a different concept. Because the members have changed, I also changed the approach.
Orkus: Now, concerning Bara no Seidou: What was the concept of this piece and which connection is there to the previous singles Saikai no chi to bara, Kyomu no naka de no yuugi and Shiroi hada ni kuruu ai to kanashimi no RONDO?
Mana: The concept of the album is the fateful reuinion in the Cathedral of Roses (”Bara no Seidou”). The three singles are woven into the story.
Orkus: The atmosphere of Bara no Seidou is rather dark, sacral and despressive. What made you release such a piece?
Mana: It probably makes a depressive impression because this work is a story taking place in the depth of the night.
Orkus: Bara no Seidou is stilistically very different from the previous albums Voyage ~sans retour~ and Merveilles. Did you worry how the audience would receive that very different album?
Mana: We have expressed ourselves musically this way because we wanted to express it this way at that time. With every new concept we have also always changed. Everyone may feel about it as they desire.
Orkus: Now about Cardinal. The DVD starts with Saikai no chi bara - a complete instrumental. Why did you decide to release singles even though Malice Mizer had no official vocalist?
Mana: Because I was of the opinion that Malice Mizer could also express itself with only instruments. I believe that the melody of every single instruments played it’s own, specific role.
Orkus: After the dark world of Saikai no chi bara, Kyomu no naka de no yuugi and Shiroi hada ni kuruu ai to kanashimi no RONDO Gardenia seems rather joy- and hopeful, which is also shown in the video. Is there a connection between Gardenia and Bara no Seidou or was that a complete new start?
Mana: Gardenia is the moment where the morning is dawning on the Cathedral of Roses. It conveys the image of being wrapped in the warm sun. This piece is also connected with the story of Bara no Seidou.
Orkus: In the Gothic Scene Vampires are often illustrated as melancholy creatures. Beast of Blood is hard, though, fast and aggressive – everything else is melancholy. What kind of vampire is this song about?
Mana: The vampire in this song is living in a big city. That’s why is probably conveys not a melancholy, but an agressive impression.
Orkus: In Moi dix Mois you are operating as a solo artist now. Can you tell us something about your plans?
Mana: I have performed in concerts in Germany and France and want to return to Europe this year. I wish that many people will be interested in my music and visit my concerts.
Orkus: Lastly, is there anything you want to say to your European fans?
Mana: Malice Mizer is a precious treasure and cannot at all be replaced for me. Please listen to the songs, if you do not know Malice Mizer yet.
Interview by Nina Keger
Translation by Mistoline
Feel free to use this translation, but please keep both names in there
MALICE MIZER
Sleuthing Human Nature
There is no need to introduce Mana anymore. After he has been in spotlight for the last two years, most likely everyone knows the eccentric Japanese man, who has completely devoted himself to the task of creating his personal world of beauty and darkness – and live it. His work with Moi dix Mois fascinates critics and colleagues and last summer he had his festival-debut as one of the main acts of the Wave Gotik Treffen (Wave Gothic Meeting) in Leipzig. Now, after he’s made himself known with his current solo project, he is also ready to tell us his story.
In the nineties, Japanese musicians began to rebel against the restrictive and conformistic society. To reach complete artistic freedom they broke the genre barriers and formed their own, individual style from the elements that suited their creative vision best. Many added a visual dimension that together with the music presented a higher band concept. Nobody pushed that radical new idea further than Malice Mizer (say “Marisu Miseru”) with their sounds inspired by classical music and extravagant costumes. Their most unusual work set a whole new measure for an entire generation and even though the group is on pause since 2001 and has never performed outside their home country, it is still inspiring artists all over the world. Recently Malice Mizer’s 1999 masterpiece Bara no Seidou is released in the form of a luxerious European first release, that also includes a collection of breathtaking, beautiful clips. Orkus is asking the bandleader and co-founder Mana about his thoughts.
Orkus: Recently the German label Trisol is releasing Malice Mizer’s album Bara no Seidou as well as the video collection Cardinal for the first time in Europe. What kind of feeling does this evoke?
Mana: I am very happy about it, because this is the chance for those who only know me within Moi dix Mois to also learn about my story.
Orkus: What does the name “Malice Mizer” stand for?
Mana: I chose this band name to express the pain and sadness within the depth of our hearts and to explore the depth of the human soul.
Orkus: Malice Mizer are called a visual-kei band. Do you agree with this? And – if so – why have you chosen this form of art to express yourselves?
Mana: I do not care what kind of view people have about us. I think Malice Mizer is no longer a band, but an alliance of artists.
Orkus: Malice Mizer’s concept is “What is human?” How does this concept show in your work?
Mana: The concept should be felt by everyone themselves while listening.
Orkus: Malice Mizer were not only famous for their unusual sound, but also for their elaborate costumes and stage shows. What made you emphasize on the visual component this much?
Mana: That was needed to express and build Malice Mizer’s view of the world.
Orkus: From the founding in 1992 to the release of Bara no Seidou anno 1999 the sound of Malice Mizer has changed several times. How would you describe the musical development that the band went through?
Mana: There was always a change because for every work I had a different concept. Because the members have changed, I also changed the approach.
Orkus: Now, concerning Bara no Seidou: What was the concept of this piece and which connection is there to the previous singles Saikai no chi to bara, Kyomu no naka de no yuugi and Shiroi hada ni kuruu ai to kanashimi no RONDO?
Mana: The concept of the album is the fateful reuinion in the Cathedral of Roses (”Bara no Seidou”). The three singles are woven into the story.
Orkus: The atmosphere of Bara no Seidou is rather dark, sacral and despressive. What made you release such a piece?
Mana: It probably makes a depressive impression because this work is a story taking place in the depth of the night.
Orkus: Bara no Seidou is stilistically very different from the previous albums Voyage ~sans retour~ and Merveilles. Did you worry how the audience would receive that very different album?
Mana: We have expressed ourselves musically this way because we wanted to express it this way at that time. With every new concept we have also always changed. Everyone may feel about it as they desire.
Orkus: Now about Cardinal. The DVD starts with Saikai no chi bara - a complete instrumental. Why did you decide to release singles even though Malice Mizer had no official vocalist?
Mana: Because I was of the opinion that Malice Mizer could also express itself with only instruments. I believe that the melody of every single instruments played it’s own, specific role.
Orkus: After the dark world of Saikai no chi bara, Kyomu no naka de no yuugi and Shiroi hada ni kuruu ai to kanashimi no RONDO Gardenia seems rather joy- and hopeful, which is also shown in the video. Is there a connection between Gardenia and Bara no Seidou or was that a complete new start?
Mana: Gardenia is the moment where the morning is dawning on the Cathedral of Roses. It conveys the image of being wrapped in the warm sun. This piece is also connected with the story of Bara no Seidou.
Orkus: In the Gothic Scene Vampires are often illustrated as melancholy creatures. Beast of Blood is hard, though, fast and aggressive – everything else is melancholy. What kind of vampire is this song about?
Mana: The vampire in this song is living in a big city. That’s why is probably conveys not a melancholy, but an agressive impression.
Orkus: In Moi dix Mois you are operating as a solo artist now. Can you tell us something about your plans?
Mana: I have performed in concerts in Germany and France and want to return to Europe this year. I wish that many people will be interested in my music and visit my concerts.
Orkus: Lastly, is there anything you want to say to your European fans?
Mana: Malice Mizer is a precious treasure and cannot at all be replaced for me. Please listen to the songs, if you do not know Malice Mizer yet.
Interview by Nina Keger
Translation by Mistoline
Feel free to use this translation, but please keep both names in there
I'm really glad to hear Mana saying something pertaining to Malice Mizer and it does seem like he's finally letting go of the fact that they won't resume from the indefinite hiatus. We all knew it, but this kinda gives a push towards the truth for anyone still hoping Malice Mizer would re-group. It was a really nice read and interview, thanks again!
