On Twitter: (pic2) "Koron kept me company for so many years, even when I’d wake up in the middle of the night.
Now I have to go see him by 5 PM, so I've gotten into the habit of taking walks in the afternoon. We had a long chat before I headed back 🍂🍁See you soon."
Ruki: (pic3) "Back home and checking samples. They said, "Please, try them," so I'll do just that 😎 #theGazettE #march"
Hoodies are an essential item for me since I wear them all the time, so I created one again.
This piece went through a lot of effort: it was dyed with a distressed finish, bleached, and then printed on top. Each one has slight variations in the dyeing, which makes them all the more special and easy to grow attached to.
The staff at the production company insisted that gray would also turn out amazing, so I gave it a shot—and they were totally right. I’m so glad I made it ⚡️
That’s why I created this hoodie in two colors.
Working with the staff and enjoying the process together was another great memory.
#nilduenilun_tokyo #nilduenilun #act11 #ruki
Knit Sweater
This is another new item.
I took the design from the one and only original guitar I own and translated it directly into this knit sweater. It took quite a bit of effort to create that pattern on the guitar, and getting the same texture with this knit material was just as challenging. Haha.
One of the highlights is its comfort: no shedding and no itchiness 🎸
#nilduenilun_tokyo #nilduenilun #act11 #ruki
New black shirt.
For the shoot, I dyed my hair black as well to make the contrast with the white stand out sharply. Going all black every once in a while feels great.
What stood out to me during the shoot was how much the model loved this black shirt—she even took her own photos of it.
I think it suits both men and women, so please give it a try.
#nilduenilun_tokyo #nilduenilun #act11 #ruki
New item🕯️
This is a candle I’ve been wanting to create for a long time.
There’s a story from last winter: after Koron passed away, I lit a candle at home every single day until it burned down completely. Afterward, I repurposed the empty jar as a vase for preserved flowers and ultimately offered it to Koron.
That candle brought me so much comfort, and it reminded me how scents can leave a lasting impression.
I’ve always loved candles, but I’m glad I waited until now to create one instead of doing it back then.
I named this candle LAST HEAVEN, the same name as the first perfume I made.
This is NIL’s very first candle.
It smells amazing, so I hope it can bring peace and comfort to everyone.
#nilduenilun_tokyo #nilduenilun #ruki #lastheaven
NIL New Item (shirt)
This was the first item I started designing for this collection: an embroidered shirt.
Back in the day, I often wore my own shirts during encores, so I thought about what kind of shirt I would wear now and created this piece.
The white shirt idea came from last year’s Christmas live performance, where I wore a white suit. I realized white could look surprisingly good, so I decided to make this shirt in both white and black.
I’m particularly fond of the black floral embroidery.
This time, I also had a lot of photos of myself taken for the first time, so it became a great memory. I’ve shared a bunch of them, so I hope you’ll enjoy them 📸
I worked hard again this year to create these pieces, so I hope you’ll give them a try!🔥
#nilduenilun_tokyo #nilduenilun #ruki
On Twitter:
“Good job today, everyone 🙏🔥
I spent my day being totally at the mercy of Instagram’s scheduled posts. Haha.”
"And so, this year as well, I was able to announce new items from NIL.
This will be a long one, but I want to leave my thoughts here.
When I didn’t want to listen to music anymore, when I couldn’t create anything, when everything went blank—it was only then that I truly realized how precious it is to have an environment where I can create something.
Slowly but surely, the feeling of wanting to cherish what I’ve built over time began to overflow. With the help of many staff members in a rush, I was able to bring this 11th collection to life.
I poured myself into this project with the mindset that I want to give my all to what I can do and leave behind right now, because I knew I’d regret it if I didn’t.
Now that it’s all been uploaded, I feel once again that this is just one more step toward what comes next.
There were challenges in continuing to push forward and keep updating, but because I decided to create exactly what I love without holding back, I feel like I’ve also relearned the importance of enjoying the process, even amidst the difficulties.
I gave the collection the title "BREATH," with many meanings in mind, including the idea of taking a breath, when you sing.
I think I was able to shape something that I want to incorporate into my daily life.
And this year, which marks seven years since starting NIL, I decided to capture "My Current Self"—Ruki as I am now, with makeup for the first time.
I feel that preserving this moment in some tangible way holds meaning.
I don’t plan on doing this every time, but I’d be happy if people could see me as I am now. And I’m sure these items will suit you all as well, so if you pick them up, it would make me happy.
As always, I personally made everything, from the music to the editing of the promotional videos 🎧
These items are filled with so many thoughts and feelings. I hope you’ll enjoy them 🙏
Please check them out starting tomorrow at 6 PM 📸"
"I'll also post some behind-the-scenes shots so please look forward to them 🐦⬛🕊️📸
I’m back home.
Today at the office, Ussan and Aoi-san said things like: "Black hair really suits you" and "It reminds me of the old days".
But personally, I think black hair suits Aoi-san the best. 🐦⬛
Ruki: I still think the current RUKI balances better with lighter-toned hair.
I’m glad to be in visual kei, where I can easily switch between black and blonde at will.
Because it’s fun 🐦⬛🕊️🐍🐝🦭🦔🦦
Ruki: While using those emojis just now, I remembered—thank you for submitting so many great name suggestions for the new RAD character! 🙏
Thanks to you all, we’re on track to choosing a name that suits her perfectly. We'll discuss it thoroughly with the members 🐇
Look forward to it ☕️
Ruki: RT RUKItheGazettE
Good evening, Ruki-san 🌛, thank you for your hard work ꒰՞ . ̫ .՞꒱. Is the breath at the start of NIL’s track your breath? 🦉 Also, I was surprised to see that the track on NIL’s website has a playback time of over an hour. Is there any meaning behind this? 🦉
Good thing you noticed! That’s my breath. 🙌
And the track being over an hour long was simply a mistake. Lol
Thanks for your analysis!
The jet-black mass of sound that reaches into the soul.
Following the release of their previous album, BEAUTIFUL DEFORMITY, in October 2013, the GazettE dedicated the entirety of the past year to what they called a "Redefinition" tour, revisiting their past works. With this time spent reflecting on themselves and recognizing their essence at a deeper level, their new creation, DOGMA, places even greater emphasis on their intense side. This is an ambitious work of art in which powerful sounds come together to stimulate the listener's ears. The key to this heavy sound is, without a doubt, the twin guitars of Aoi and Uruha, the two wings of the band.
Interviewer: Last year, you didn’t release any singles and instead held a fan-club-exclusive live tour featuring songs from past albums as part of your “Redefinition.” What was the intention behind that?
Uruha: Up until then, we had been releasing works regularly, so we wanted to take some time to reevaluate various aspects of ourselves. Additionally, to solidify our foundation as a live band going forward, we wanted to take a year to carefully reflect on our relationship with our fans by engaging with fan club members. This way, we could comfortably move on to the next project and create something that both we and the fans desired.
Aoi: In addition to that, it was also about reflecting on myself. I wanted to revisit how I had approached my role in the GazettE in the past. How had I contributed to the creation of our music? And, considering all of that, what direction should I take in the future? It became a period for contemplating such things, so in that sense, I think it was a necessary time for us.
Interviewer: What was the concept behind your new album, DOGMA?
Uruha: At the start, RUKI (vocals) proposed the title DOGMA (which means "doctrine"). It wasn’t meant to reflect some ordinary "religion"; instead, it symbolizes something absolute that we ourselves created. With that concept in mind, we aim to take it on tour and draw in even more core fans. When deciding what kind of songs to create, we wanted to focus on the intense elements that have always been one of our strengths and pack them into the album.
Interviewer: The title track and other songs prominently feature minimalist riffs and unconventional song structures, don’t they?
Uruha: RUKI intentionally approached it that way, aiming for a flow where the same patterns wouldn’t repeat. For example, in a typical song, you might expect to return to the verse, but we deliberately chose different developments, like structuring it so the chorus appears only once. That unpredictability makes the songs engaging and avoids monotony.
Interviewer: Which tracks did you each compose?
Uruha: I wrote "DERACINE" & "PARALYSIS," and Aoi wrote "WASTELAND" & "GRUDGE."
Interviewer: What do you think of each other’s songs?
Uruha: When I listen to Aoi’s songs, they definitely have a signature Aoi quality—there's this emotional, heartfelt quality to them.
Aoi: Uruha’s signature style is his slightly unconventional sense of rhythm. On the other hand, RUKI tends to approach things more straightforwardly, which often becomes a hook for the entire song.
Interviewer: What tunings did you use this time?
Uruha: Drop A and B.
Interviewer: Why did you choose six strings instead of seven for such low tunings?
Aoi: True, you could argue that if you're using low A, it would make sense to use a 7-string. But a 7-string feels like a completely different instrument, doesn’t it?
Uruha: Right. Plus, barring power chords with one finger is essential for us.
Interviewer: So the reason for using drop tuning is the mobility it offers, allowing you to barre power chords with one finger, especially for such intricate riffs?
Uruha: That’s right. The riffs are so complex that it’s almost chaotic (laughs). Plus, there’s a lot of muted playing involved, so maintaining that level of mobility is crucial.
Aoi: Yeah, that’s really what it comes down to. Also, in RUKI’s songs, there are sometimes fingerings or techniques specified that are unusual for a guitarist. In that sense, they have a unique flair.
Interviewer: Do the guitar riffs in RUKI’s songs originate from him?
Uruha: It varies. Sometimes he specifies exactly what he wants, other times he’ll say, “I’d like a riff here,” and we fill it in. There are also parts we add spontaneously.
Interviewer: When non-guitarists create riffs, don’t you find they can be oddly difficult to play?
Uruha: Oh, absolutely. There are plenty of times when I’m left wondering, “Why would you play it like this?”
Aoi: But strangely enough, those parts often end up being must-haves.
Uruha: Exactly (laughs). That’s what makes it challenging, but also interesting.
Uruha: On the flip side, if RUKI were really proficient at playing guitar and presented ideas that strictly adhered to conventional theory, I think that would actually be boring and unappealing. Because he doesn’t know too much about it, it ironically makes things easier for us.
Aoi: But you know, when it comes to RUKI's songs, Uruha tends to make things even more complicated. Like, with those subtle muting nuances… you always add those in, right?
Uruha: For example, even if RUKI is playing a riff with alternate picking, I might think, “At this speed, wouldn’t the sharper feel of down-picking be closer to what RUKI has in mind?” Or, “Wouldn’t it better align with RUKI’s vision if it were played this way?” And before you know it, things start to get a bit more complicated (laughs).
Interviewer: So you’re interpreting RUKI’s original compositions from a guitarist’s perspective as you play them.
Uruha: That's right. If RUKI were to say, “It’s fine if you play it loosely,” then we’d just go, “Oh, okay, got it.” But if he responds with, “Yes, that’s exactly it!” then it validates the extra effort.
Aoi: I tend to be more relaxed about things like muting.
Uruha: And that’s totally valid. So, in the end, it comes down to which approach is better suited for the situation.
Interviewer: Uruha, earlier you mentioned that this album was an exploration of the "essence of twin guitars." Could you elaborate on that?
Uruha: We had more discussions than ever before about how to make each song work with both guitars, carefully crafting the tracks together. It felt risky to just end things with my personal interpretation alone.
Interviewer: So you discussed not just how the phrases interact, but also how to play them and what nuances would be most effective?
Uruha: That’s right. However, since playing styles and nuances can vary widely, we made sure to maintain a basic consistency in technique while still allowing each of our individual personalities to shine through. I’d say Aoi is more meticulous about ensuring everything is perfectly aligned. For instance, before recording, Aoi would suggest things like, “Isn’t there a difference in how we’re playing this?”
Aoi: For example, alternate picking and downstrokes each have their own distinct nuance. Even if those approaches differ slightly, it can still be cool as long as the result works. But knowing about those differences and intentionally making a choice is very different from being unaware of them. This time, we took the time to carefully evaluate each decision as we went along.
Interviewer: What about each other's tones?
Uruha: We had some deep discussions about that this time, too. There’s the tone I want to produce, the tone Aoi wants to create, and then the composer’s image of the sound, so we debated what approach would deliver the best result. Ultimately, there’s no definitive “right answer.” RUKI tends to make broad suggestions about guitar tones, like, “Shouldn’t it be more focused?” From there, it’s up to Aoi and me to fine-tune the details through discussion. Aoi might say, “This is the sound I want to create, and that’s why I’m doing it this way,” and then I’d share my perspective in response.
Aoi: On DAWN, there was a moment where RUKI felt the tone I was using didn’t match his vision, so I ended up using Uruha’s amp to play the part. Even then, I couldn’t fully accept it. After I got home, I messaged RUKI on LINE, saying, “Let me propose another option” (laughs).
Uruha: But going through the process of trying it out once was really important. Normally, it’s something you wouldn’t even want to test out. However, understanding how something takes shape before making a choice is crucial. Sure, if Aoi and I used the same amp head, everything would naturally come together. But that doesn’t necessarily mean it’s the correct answer. In the end, it’s not just about the pros and cons—it's ultimately about spirit (laughs).
Interviewer: When it comes to the stereo effect of twin guitars, there are quite a few unison parts, right?
Uruha: Unison has its pros and cons. It helps establish the riff’s image, but it also has the downside of making things monotonous. So it depends on the song. If there’s no specific instruction for unison, we generally do different things. But for certain songs, unison is necessary. For example, with DOGMA, the original version was unison from start to finish. However, we realized that would be too repetitive, so we changed quite a bit of it.
Interviewer: In RAGE, the unison riff is central, but are you playing it in different positions? A guitar, even when playing the same phrase on sheet music, can produce different nuances depending on the position on the fretboard.
Aoi: For that one, we’re mostly playing in sync. That said, even if we play the same way, there are subtle differences—maybe in the right-hand technique. The peak frequencies of the sound differ between Uruha and me. Even the engineers point out that the tonal bands that stand out for each of us are different.
Interviewer: Aoi’s tone has more of an edge to it, doesn’t it?
Aoi: Saying it has an “edge” makes it sound appealing, but since the highs stand out more, it can sometimes feel like the mids are missing a bit.
Uruha: I think the difference in pickup power also plays a role. I use pickups with relatively strong output, whereas Aoi’s aren’t as powerful—though not quite as low-output as single-coils. But I think it’s better to have differences in how the tones stand out, rather than trying to correct or equalize them. The fact that we’re not occupying the exact same sonic space is what allows the overall sound to work as a cohesive whole. It’s like we’re complementing each other.
Interviewer: In terms of twin-guitar interplay outside of unison, in DERACINE’s A section, initially, the left channel plays a harmonics-based single-note riff, while the right channel plays a muted chugging rhythm. But in the second iteration, the roles switch—the right plays a single-note riff, and the left switches to chords. That’s a very "twin-guitar" arrangement.
Uruha: That single-note riff in the verse is something I was really attached to. At the same time, I was equally fond of the sound playing in the background. I wanted to play both parts (laughs). So, to make that happen, I brought the verse back for a second round and swapped the roles, so we could play both. It’s the kind of thing you can do when you’re the one who wrote the song (laughs).
Interviewer: In the A section of GRUDGE, the clean tones are very distinct—Aoi plays the higher register while Uruha handles the lower register, and together, the two lines merge into one.
Uruha: That part was tricky. Aoi’s phrasing was already established in the original version of the song, and the vibe of the A section was already fully formed. So, I had to think carefully about what kind of guitar part I could add to complement it.
Aoi: It’s true that the song was already playable with just one guitar when I composed it. I feel really bad about it, but I just left it to Uruha to handle (laughs).
Uruha: Aoi basically told me, “Do whatever you want with it,” so initially, I tried creating a part that interacted more with the bassline. But then he said he wanted it to interact more with the guitar instead (laughs). No matter what I tried, it kept feeling like it was clashing. So, after a lot of trial and error, we ended up with the version you hear now.
Interviewer: Aoi’s tone is clearer, while Uruha’s is warmer—it seems like there’s a distinct contrast in direction between the two.
Uruha: With Aoi’s tone as the main focus, I could have taken a backseat or gone in a more effect-heavy direction if that was the approach. However, since the aim was for our parts to intertwine, it was essential to make my sound warmer. While we worked on blending, we also wanted to create a sense of push and pull between the parts.
Interviewer: Twin-guitar interplay involves so many factors—phrases, nuances, tones. The sheer range of choices makes it challenging to decide what’s “right,” doesn’t it?
Uruha: That’s true. But I really enjoyed the process of interpreting things in my own way and coming up with answers. Being handed the responsibility sparked something in me. It became an opportunity to think deeply about what I could contribute, and that was incredibly important.
Interviewer: There seems to be less emphasis on lead playing these days, right?
Uruha: It’s extremely minimal now. But that wasn’t really intentional—it just naturally turned out that way.
Interviewer: The solo in "LUCY" has a bluesy feel to it, which is quite rare for this kind of sound. The structure is also very well thought out.
Uruha: It has a bit of a rustic vibe, doesn’t it? This was completely improvised. I wasn’t thinking about it at all and just naturally played along with the song. The structure has a clear rise, climax, and resolution, which is pretty much my standard.
Interviewer: In "WASTELAND," the transitions from cutting to low-end riffs and single-note melodies stand out. The solo, or rather, the vital and unique playing, leaves a strong impression.
Aoi: Initially, it was more of a typical guitar solo that flowed out of the chorus. But that felt off somehow. I’m not sure how it ended up the way it did, but if you were to play it super fast, it might sound like something Nuno Bettencourt would do. That was kind of the image I had in mind.
Interviewer: The interlude solo in "OMINOUS" has such a smooth tone. Did you use a sustainer for that?
Uruha: At first, I thought about using a sustainer, but I found that it made the tone too thin, so I ended up not using it. For this part, after recording one track, I re-amped it and used the Electro-Harmonix HOG. The HOG lets you manipulate more than ten different key tones, like two octaves below, for instance. I recorded each of those individually on separate tracks, then layered over ten or so tracks to create that sound.
Interviewer: It’s not a solo, but “DERACINE” has a slap-style phrase, doesn’t it?
Uruha: Lately, when I have free time, I’ve been experimenting with playing without a pick and using just my fingers. That led me to think, “Why not try incorporating this?” I’ve always liked Limp Bizkit, and Wes Borland’s tapping is just so cool. I admired that kind of style, so I decided to try adding it in.
Interviewer: Finally, what kind of work has this album turned out to be for you?
Uruha: I approached it with a perspective beyond just being a guitarist, looking at things more broadly and thinking deeply about what the songs were truly asking for. I responded with flexibility, without being bound by my usual style. That’s where this album differs from previous ones, and I feel like it marks significant growth for me.
Aoi: Before we started, I prepared a lot in advance, but in the end, the most enjoyable part was having discussions with everyone and exploring where the GazettE’s music is heading and creating with that in mind. Within that process being appreciated for my sound as a guitarist was incredibly gratifying.
Case of 葵
"Ultimately, it all comes down to you. The guitar only gives back what you put into it."
Aoi has always captivated audiences with his emotionally rich and elegant playing. In recent years, however, his mindset as a guitarist seems to have evolved. This interview delves into the true identity of Aoi as a guitarist.
Interviewer: You've often mentioned Kirk Hammett and Nuno Bettencourt as some of your favorite guitarists, but it seems their playing hasn’t had a direct influence on your style, is that right?
Aoi: Yeah, their playing hasn’t really influenced me. Both of them are known for playing guitar solos, but that’s not something I do much in my own playing. To be honest, I don’t feel like I’ve been directly influenced by anyone in terms of guitar playing.
Interviewer: Did you ever copy their styles or practice their parts?
Aoi: I tried a little, but I’ve always been the kind of person who gives up easily (laughs). For example, I’d just play the intro or stick to riffs that I could manage, and that was enough for me. I wasn’t the type to really push myself to practice difficult parts.
Interviewer: In the interview for DIVISION, you said, "I’ve finally started to actually play the guitar."
Aoi: I’ve always had a bit of a “jack of all trades, master of none” kind of tendency. I could manage most things fairly well without too much effort. When it came to being in a band, there wasn’t a need for super technical playing as part of my self-expression, and it wasn’t really required either. But when you’re like that, you start to see limits in your approach and phrasing. So I decided to start learning—or rediscovering things, whether it was Megadeth, Metallica, or whoever. Listening again with a fresh perspective, I found I could hear them differently than I used to. That made guitar exciting again, and my passion for it reached the same level it had when I was in middle school. That was around the time of DIVISION.
Interviewer: Were there any albums or tours with the GazettE that became turning points for you as a guitarist?
Aoi: There’s something like that every time we create something new. I tend to be influenced by Uruha quite a lot. The reason for that is, if the sounds of the left and right guitars are too far apart, I feel like the band’s ensemble doesn’t quite come together. That’s why I align my style with how Uruha thinks about things. In the early days of the band, we would each say things like, “I’ll play this kind of sound,” and we’d just do whatever we wanted individually. But as the band progressed, I started to feel like I wanted everyone to listen to the packaged worldview of the GazettE. Naturally, my ego started to fade.
Interviewer: So you’re taking a broader view of the band as a whole?
Aoi: Ideally, it might be better to say, “This is my sound,” in a more defined way. But no matter how much Uruha and I work to create similar sounds, they’ll never be identical. No matter which amp I use, it always ends up sounding like me. Even if I use an amp with a different gain or low-end response, my character and tonal image don’t change much. In the end, it all comes down to what my right hand can do. That’s where I feel my self-expression and approach as a guitarist come into play.
Interviewer: What’s your personal favorite type of sound?
Aoi: I like Marshall-like tones. Even though the sound pressure might be different, I think the sound I’m producing now leans in that direction. Marshall’s sound can only come from a Marshall, so ideally, I’d love to record with one. But the band doesn’t necessarily need that sound right now, so there’s a bit of a gap there. That said, I also love the sound I create with the GazettE. Maybe someday, when the GazettE becomes a bit older, there will be a time for that Marshall sound to shine (laughs).
Interviewer: By the way, does the music you personally enjoy listening to link to the band’s musical direction?
Aoi: Not at all. My tastes haven’t changed much over the years—I tend to stick with one thing I like for a long time. I still listen to Nuno, for example. Nuno’s work spans bands and solo projects, so there’s a lot to enjoy. I also don’t usually listen to heavier music with intense shouting or anything like that. Oh, speaking of which, I’ve started listening to Led Zeppelin recently. When you trace back guitarists, you inevitably end up with musicians from that era. I remember reading interviews about them as a kid and thinking the sound was too old-fashioned to enjoy. Now, I can listen to it and appreciate it. That’s one thing that has definitely changed for me.
Interviewer: How has that feedback reflected in your playing?
Aoi: I think it unconsciously shows up in how I construct riffs or add accents. I’m always really curious about how I approach a song. It feels like all the phrases I’ve heard and taken in over time are condensed here. It’s like, “Oh, that’s where that came from” (laughs).
Interviewer: Your guitar setup is known for its “two-way sound variation,” featuring a combination of a single-sized humbucker and a single coil, right?
Aoi: Originally, it was because I didn’t like tapping a humbucker to get a single-coil sound when I needed it. Oh, but my setup will change soon.
Interviewer: At the March Budokan live show, you primarily used an ESP Snapper, right?
Aoi: My guitar preferences have shifted a bit... I’ve started to prefer more conventional designs. I’ve used through-neck and set-neck guitars in the past, but I realized I like bolt-ons best. Also, I prefer minimal finishes—ideally, none at all—on the neck. The neck really makes a big difference. So, my next guitar will probably be quite simple and traditional.
Interviewer: More of a Fender-inspired design?
Aoi: Exactly. The body will be Duo-Sonic-inspired, but with a long scale, which is a departure from what I’ve used before. However, the pickups will be dual humbuckers. Previously, with the two-way setup, they were single-sized humbuckers, so technically, they weren’t true humbuckers. While the mini humbuckers had a nice texture that I liked, as the band’s music has gotten harder, it became clear that full-size humbuckers are essential. For the front pickup, I like something lighter, so I’ll probably go with a Seymour Duncan Jazz. For the rear, I ordered a Wild USA-made L-500.
Interviewer: Is a tremolo arm also essential on your guitars?
Aoi: Honestly, even though I’ve been using guitars with Floyd Rose tremolos for ages, for me, they were basically just tools for making that “whammy dive” sound (laughs). That’s why I had them set so they couldn’t be pulled upward until recently. But as I started using synchronized tremolos, I began to understand their proper use, like for vibrato, and it made me want to incorporate those techniques into my playing and songs more.
Interviewer: The ending solo in "OMINOUS" features some delicate arm vibrato.
Aoi: Honestly, it came out better when I was practicing (laughs). I tensed up a bit during the actual recording. But still, it’s such a satisfying feeling. I was playing while thinking, "Oh, so this is how you’re supposed to use an arm" (laughs).
Interviewer: In live performances, you used to focus on the visual aspect. Do you feel that’s shifted now?
Aoi: These days, I get so absorbed in playing that I’ve started to question it a bit (laughs). That said, I think the overall quality of the band’s performances has improved. When I listen back to our recordings, I find them more polished and satisfying to hear.
I feel like now is the time for us to take another step and work on captivating the audience even more. Back when I talked about "showmanship," it was kind of vague and reflective of the trends of that time. But the essence of being a guitarist is in playing.
Now, I enjoy playing the guitar so much more, and performing live feels more real to me. I’ve also developed this strong desire for people to really listen to what I’m playing. I’ve come to understand that side of the enjoyment too. So, if I can add something extra to that, whether in terms of presentation or skill, and feel my own abilities improving, that would be ideal.
Interviewer: What is it about the guitar that fascinates you?
Aoi: Ultimately, it all comes down to you. The guitar only gives back what you put into it. And within that, there are moments where playing becomes truly fun—it’s a feeling I think only the guitar can provide. Even if your perspective on the instrument changes, you can rediscover its appeal in new ways. Being in an environment where I can always pick up and play a guitar is something I’m deeply grateful for. I feel that not taking it seriously would be disrespectful to that environment and to the people around me. That makes me more committed to practice. And when I notice myself improving, it’s such a rewarding feeling. That’s why I can’t stop playing the guitar.
Case of 麗
"The guitar, it feels like a partner. Just like with the band members, we’re friends having fun creating music together. My relationship with the guitar isn’t all that different."
With his technically driven guitar playing, Uruha exudes an aura that resonates with guitar enthusiasts. What is it that he, relentlessly pursuing perfection in sound, feels as a guitarist right now?
Interviewer: You’ve often taken the lead role in guitar work for the GazettE, and you seem to enjoy technical elements, don’t you?
Uruha: I mean, I started playing guitar because I admired SUGIZO-san. That desire to become like him drove me. Even when I was covering songs from other bands in my early days, I’d always choose the lead parts or try my hand at the more challenging sections.
Interviewer: SUGIZO’s guitar style isn’t strictly conventional, is it?
Uruha: That’s true. But since I didn’t have much foundational knowledge back then, for me, SUGIZO-san’s style became the baseline for what I considered normal (laughs).
Interviewer: Your guitar playing has evolved significantly over the course of the GazettE’s activity. Early on, there was more cutting and lead playing, but over time, your sound has become denser and more cohesive.
Uruha: Around STACKED RUBBISH, I started to develop—or rather, felt the desire to explore—a sense of density and riff-focused elements inspired by Western music. Even before that, I’d been a fan of bands with strong, riff-driven sounds, like Limp Bizkit, and by then, I started thinking about incorporating that influence into the GazettE.
Interviewer: Do the members discuss the band’s direction with each new album?
Uruha: It’s not a formal discussion; it’s more like casual conversations among friends. Like, “I think this band is really cool right now.” For example, RUKI is always exploring what’s trendy and brings up genres and bands I’ve never even heard of. He’s the type to actively put out ideas rather than absorbing from others. As for me, even if I’m really into something, if I think the others might not relate to it much, I usually won’t bring it up (laughs).
Interviewer: Who’s the artist you’re most into right now?
Uruha: Lately, I haven’t been as into band-type music, which is a bit sad for me. For quite some time now, I’ve been listening to electronic music, like EDM and dubstep. I’ve really gotten into that. One artist I’ve really connected with is Broken Note. Their sound is so sharp and piercing, with a kind of intense, all-in hardness that filled a void I had inside me.
Interviewer: So it wasn’t guitar sounds?
Uruha: Right. But even though I’ve been influenced by it, it’s not about directly reflecting that in my guitar playing. It’s more about appreciating how committed the sound is, even if it’s not mainstream or universally accepted. it made me realize how important it is to chase after that good feeling.
Interviewer: Have your expectations for your guitar sound evolved?
Uruha: This album has really changed things for me. It’s less about the sound I want to create personally and more about pursuing the sound the work itself demands. Before, I had favorite amps and guitars that I thought were perfect, and my approach was to expand from that core combination. For instance, I’d been avoiding using Mesa/Boogie amps because they felt too mainstream, instead favoring high-end heads to craft a gritty sound. But when I tried a Mesa/Boogie, I thought, Oh, this is it after all. By letting go of my ego as a guitarist, I feel like the overall work has been elevated and improved.
Interviewer: Speaking of guitars, around 2006–2007, you used pickups with P-90s, right?
Uruha: That was during the STACKED RUBBISH era. As I focused more on riffs, my perception of string thickness and the low-end resonance evolved, and at the time, P-90 pickups just clicked with me.
Interviewer: Even though P-90s are single-coils?
Uruha: I felt Strat-style single-coils wouldn’t deliver the gritty vibe I was after. The P-90, being somewhere between a single-coil and a humbucker, was said to provide the thick tone I was looking for. But as I kept playing, I started feeling they lacked the power I needed, so I switched back to humbuckers.
Interviewer: Many factors determine a guitar’s tone, like pickups, wood, and parts. Are the specs for your custom models pretty settled now?
Uruha: They’re pretty stable now. The body is a mahogany back with a maple top, the neck is maple, and the fretboard is either rosewood or ebony. Of course, beyond specs, even subtle factors like the angle at which the pick hits the strings, or whether you’re playing closer to the bridge or the neck, can drastically change the sound. When evaluating tone, it’s important to have some baseline to understand those changes. I’ve drawn a line with my equipment to focus on experimenting with technique. When I hit a wall, that’s when I’ll revisit the gear. Otherwise, it’s easy to lose direction.
Interviewer: At the Budokan live show in March, you used Two-Notes' cabinet simulator. Did that mean you weren’t using an actual cabinet?
Uruha: I was still using a cabinet, but only as my personal monitor. The sound for the audience was sent directly from the Two-Notes line to the PA console. While improving my home production setup, I realized there were limits to what plugins could achieve. I wanted to use an amp for recording at home, so I tried things like using a small cabinet, but I couldn’t get it to work the way I wanted. That’s when I heard from a friend about speaker simulators. While searching for something good, I happened to come across Torpedo. When I tried it out, it was incredibly functional and impressive. That’s when I thought, “Maybe this could work for live performances too.”
Interviewer: What are the benefits of using a direct line?
Uruha: It frees you from a lot of stress. It eliminates variations caused by miking and ensures the sound is stable. It’s not that I don’t trust the PA engineers, but I tend to get overly meticulous about my own sound. At every venue, I’d check things like, “Is the phase okay?” or obsess over various details. Even after all that, there were still days where I’d think, “The sound isn’t cutting through today,” and those worries never seemed to end. Of course, I couldn’t even be sure if mic placement was really the issue. Overthinking those things became a source of stress. Using a speaker simulator freed me from that burden. It’s not about which sound is better; it’s about reducing stress.
Interviewer: When you’re on stage, is there anything specific you’re mindful of?
Uruha: If I’m being boring, I’d say I always focus on succeeding.
Interviewer: By “succeeding,” do you mean playing well?
Uruha: That’s the most basic part of it. But when you’re preoccupied with playing well, it’s usually because you’re losing to the pressure of trying to succeed. On tour, there are moments when your tension is naturally high, and at those times, you’re not even thinking about playing well. You’re relaxed, enjoying the moment, and there’s a certain sense of ease. I wish I could always stay in that state, but it’s not something you can achieve just by focusing your mind—it’s really difficult.
Interviewer: As someone who plays guitar with Aoi closely, do you feel influenced by him?
Uruha: Since I see him the most, I feel like I need to have a sense of rivalry toward him. He’s the kind of guitarist who makes me feel that way. Compared to me, he leans more toward the rocker side. In the past, I didn’t really feel that “rock” quality from his playing—it was more in his presence. But recently, he’s gained this remarkable gravitas, and I think it reflects in the way he plays guitar too. That’s something I don’t have, and it’s inspiring for me.
Interviewer: What does the guitar mean to you?
Uruha: To put it in an odd way, it’s like a partner. Just like with the band members, we’re friends having fun creating music together. My relationship with the guitar isn’t all that different.
Translation of the RECOMMEND DISC segment can be found here:
葵's SELECTION - 麗's SELECTION
Message from...
What role do Aoi and Uruha play within the band?
To answer this question, we conducted a survey with the band members who know them best.
Q1: What do you remember about the first time you played with Aoi and Uruha?
RUKI: It was at a studio in Yokohama. I don’t remember the details well, but I think our mindsets matched from the very beginning.
REITA: It felt so natural, like it wasn’t even our first time playing together.
KAI: This might be a stereotype, but I always thought of guitarists in terms of the flashy lead (upper position) and the solid support (lower position). However, with these two, I felt they were both players who each had their unique kind of talents.
Q2: What do you think are the defining characteristics of their guitar playing?
RUKI: Hmm... it’s hard to say since they both have such a wide range of skills and styles.
REITA: For Uruha, he feels like a true virtuoso. That expressive quality comes through his fingertips.
For Aoi, his onstage agility and aggressive style are truly impressive.
KAI: Aoi is skilled at absorbing everything, then internalizing it and expressing it through his own genuine sound.
Uruha, on the other hand, is constantly challenging and reevaluating himself, always searching for new expressions of his sound. That’s the impression I get.
Q3: How do you think their playing has evolved from the band’s early days to now?
RUKI: I don’t think it’s changed too much. It just feels like their repertoire has been steadily expanding.
REITA: I think they constantly push and inspire each other. Sometimes they start to resemble each other, and other times they go in opposite directions—it’s fascinating to watch.
KAI: The core of their playing hasn’t changed much. From the early days, they’ve always challenged each other to create sounds and phrases they wouldn’t have thought of on their own.
Q4: What are the unchanging aspects of the two of them?
RUKI: They’re both incredibly stubborn and pure (laughs). I don’t think that will ever change.
REITA: I can't put it into words very well, but when I listen to their phrases, it really hits me. Of course, I mean it in a good way.
KAI: Honestly, they both just love the band! (laughs)
Q5: In the new album DOGMA, which guitar parts stood out to you the most?
RUKI: For Uruha, the tapping in "BIZARRE." For Aoi, the guitar solo in "OMINOUS."
REITA: Uruha’s tapping in "BIZARRE" and Aoi’s ending in "OMINOUS."
KAI: In "OMINOUS," they both have guitar solos. I listened to them thinking about how each showcased their unique style and strengths.
Q6: What role does each of them play within the band?
RUKI: Uruha is meticulous and theoretical. Aoi is vibe-oriented but practical.
REITA: Uruha takes ideas and develops them through theory. Aoi is realistic and gets straight to the heart.
KAI: Uruha is stubborn. Aoi absolutely hates anything dishonest.
Q7: What’s the most memorable thing they’ve said or done?
RUKI: The way they don’t agree on anything (laughs). It’s part of what makes the band unique.
REITA: The time they had a fight (laughs).
KAI: Their heartfelt words when they’re drunk.
Q8: Do you have any messages for the two of them?
RUKI: May you both continue to love music forever.
REITA: Keep being yourselves and adding color to the GazettE. I’ll support you so you don’t lose your edge.
KAI: Please always remain the guitarists I admire!
