Tag Archives: Kami Band

UROBOROS: new Takayoshi Ohmura band release a mini-album

UROBOROS (ウロボロス) is a Japanese rock band formed in 2015 signed to Pony Canyon and the band is featuring Kami Band’s Ohmura Takayoshi.
https://www.youtube.com/watch?v=1RRIbvMfoZQ

CD release from UROBOROS, a project participated by great musicians such as Keisuke Korose (ex. Asriel) and Ohmura Takayoshi (BABYMETAL). This edition includes a bonus DVD. *The DVD disc is encoded for region 2 (Japan, Europe, and Middle East), and no subtitles are included.

UROBOROS, also known as Ouroboro from the Greek “ουροβóρος” it’s a symbol showing a snake eating his own tail creating with his own body a circular shape. The Uroboros symbolizes the eternal cycle of things, also the eternal effort, the eternal struggle of the futile effort, as the cycle begins again despite efforts to prevent it.

The artists inside this secret project are Kurose Keisuke (ex Asriel) as Manipulator/DJ, Aya Kamiki on Vocals, Takayoshi Ohmura (C4, LIV MOON, DSPRG, Marty Friedman’s band, BABYMETAL) on Guitar, Taizo Nakamura (ex cune) on Bass, Sasabuchi Hirochi (ex Plastic Tree) on Drums.

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UROBOROS
Kurose Keisuke (黒瀬圭亮) – Composer/Manipulate (ex-Asriel)
Kamiki Aya (上木彩矢) – Vocals
Ohmura Takayoshi (大村孝佳) – Guitar (C4)
Nakamura Taizo (中村泰造) – Bass (ex-cune)
Sasabuchi Hiroshi (笹渕啓史) – Drums (ex-Plastic Tree)

Site: http://urbrs.com/

Oricom: The presence of KAMI BAND is backing the popularity of BABYMETAL overseas

Here a japanese report from Oricom website translate by Redeared_Slider on Reddit

Besides the success of solo live at Makuhari Messe in Chiba City, which is part of their world tour and a triumphal return, BABYMETAL also received the BREAKTHROUGH AWARD, an award presented to artist who take a big leap in that year, from METAL HAMMER, a long-established metal music magazine in England.

KAMI BAND

BABYMETAL keep making rapid strides in their home land and overseas. Their charm has already been mentioned many times in other media, but for their success in breaking the boundary of girl group and obtaining support from core metal friends around the world, no doubt that a big credit goes to the KAMI BAND which is formed by brilliant musicians. I guess this band who are backing the girls on stage will once again be under the spot light.

-KAMI BAND’s outlook is basically monotone white make-up and white clothing
The stage of BABYMETAL compose of SU-METAL who use her powerful vocal to sing those difficult songs, YUIMETAL and MOAMETAL who deliver high quality dance, and KAMI BAND which are all brilliant musicians. They together spread out high degree of entertainment. Being summoned to be the incarnation of Fox God, members of KAMI BAND are all top and true heavy metal musicians. in order to present the BABYMETAL’s music fusion elements of thrash metal, black metal, metal core and grindcore, superior technique is definitely required.

In addition, they also need to present the view of world in this project visually on stage (KAMI BAND’s outlook is basically monotone white make-up and white clothing). Band members who could satisfy all these requirements are of course a big driving force behind BABYMETAL’s world breaking. In overseas live, the girls are of course getting big cheers, in fact, members of KAMI BAND are also getting big cheers too.

https://www.youtube.com/watch?v=9WhqGK9Fevs

-KAMI BAND is formed by top musicians in Japan
First of all, the bassist BOH, who seems like leader of the band. He has been involved in NANA starring MIKA NAKASHIMA and a band called BINECKS which is leaded by guitarist DAITA (ex. SIAM SHADE). There are only very few 6 string bass players in Japan, his unmatched play are not only backing the sound of BABYMETAL, but his flashy solo with slap and right hand play tapping are also attracting lots of attentions.

Then, here comes the guitarists, Takayoshi Ohumra, Leda and Mikio Fujioka. Ohumra is also backing Marty Friedman and LIV MOON and is well known for his high speed and beautiful play style (The first time I saw him, he was in a Jazz-Funk band called DCPRG which is leaded by Kikuchi Naruyoshi and I was overwhelmed by his super high speed play). Leda has been in DELUHI, TM Revolution, and also joined the back on stage live show of DAIGO☆STARDUST. BABYMETAL absorbed the decent look and elements of different metal branches starting from the 90s and their play made the audience go nuts.

The drummer is Aoyama Hideki. Hideki’s father, Aoyama Jun (1957-2013) was a famous drummer. Hideki started his career in JAM Project where high performance quality is required, then he joined KAMI BAND in 2012. Crazy speed beat and killing acoustic pressure are obviously needed in BABYMETAL ’s play.

-Players showing their characters and senses

BABYMETAL also received high motivation from KAMI BAND members. leader BOH wrote in his blog “BABYMETAL is growing fast and being able to work in this project, to me, hardly anything can replace this valuable experience.”, “Non-stop growing, always serious and challenge things with sincere attitude, from the bottom of my heart I deeply respect Ms. SU-METAL, Ms. YUIMETAL and Ms. MOAMETAL” [EDIT: Ms. ?? I find it a bit weird when translating this, putting さん after the girls’ name shows BOH is taking them seriously] I think with respect to the girls and showing their true colors freely in their play are major factors for the success of this project. In addition, the presence of BABYMETAL and KAMI BAND are no doubt a big reason why core metal fans are showing their support and the heavy metal genre could once again be heated up after the 90s.

BABYMETAL will soon be performing in big festival including SUMMER SONIC 2015 and Ozzfest Japan 2015 and they will carry out their first time ever Japan Tour, BABYMETAL WORLD TOUR 2015 IN JAPAN, from Sep. to Dec. With superior technique and view of the world on stage, BABYMETAL’s backing KAMI BAND seems will catch everyone’s eye balls.

Franz Kaftka's America / Date Course Pentagon Royal Garden
Date Course Pentagon Royal Garden

DIZAINIZE-EP / Far East Dizain
Far East Dizain

New BOH Blog: BABYMETAL’s 2015 world tour impression

Is everyone in a good mood? This is your esteemed bald boy, BOHヽ(゜▽、゜)ノ

BABYMETAL’s 2015 world tour finally ended at Makuhari Messe.

There will be additional shows in Germany and England in August, but it’s over for now. I’d like to go to a relaxing onsen, but I can’t relax because my schedule is packed with other events. Losing my desire to relax too much is like my hair loss <- intense lol Snap2

Well, this time, we were squished between Mexico, the US, and Canada, and the Metrock Festival on our way back to Japan, and ended our tour storming through Germany, France, Switzerland, Italy, Austria, and Makuhari Messe. Wherever we played, the audience spread its joy to us and felt BABYMETAL’s intensity again. There were countries and towns I went to for the first time, and I loved this fun foreign tour where I could experience each country’s culture and excitement. We’re getting famous fast and we won prizes from famous foreign magazines like Kerrang and MetalHammer, and for me to be involved in this impossibly-strong project that is BABYMETAL is an extremely valuable experience that is difficult to replace.

We played solo shows, of course, and the big foreign festivals we played for the first time and their news coverage went well, and we finished by creating a strong impression and leaving a major impact. This kind of thing is really amazing, and must often balance endurance, determination, will-power, sticking together, and perseverance.
Last time, I wrote on BABYMETAL’s blog. I have nothing but the utmost respect for SU-METAL, YUI-MEtal, and MOAMETAL who are always growing, and always take on every challenge with honesty and sincerity.

Because I won’t write about what the three girls do off-stage, I’m keeping it brief, but their “artistic powers” are steadily becoming stronger!! Yesterday’s Makuhari concert was especially amazing and what I felt was a “flickering destructive power,” meant in a good way. One star collided with another, and the moment a new star was born, it created the impression of something more powerful. Our Kami band performance is also inspired by you three, and I think it was our most on-point until now.

Like everyone, I get nervous before playing live, but on this tour, there was a strong feeling we “would do” more than that. And throughout the tour, our team’s bonds became stronger, and we can take on the challenge on stage, while we can proudly show off our feelings of joy and reliance on each other.

The Kami band is indispensible for BABYMETAL’s existence. People also tell me the Kami band is just support. I’ve also come across these opinions, but we do not accept this point of view. In any case, there is no difference between what we do for a good performance!! The girls are shining more and more, and what should we play? That is the number one thing we think about and challenges us on stage. Until now and from now on, these thoughts have not wavered from us or our staff. When I went to Tokyo, I didn’t go there to start a band. I had the goal of becoming a first-rate session musician. Because I took pride in support work, I didn’t care whether I was in a band or not.

Snap3

But either way, no matter what you do, it is important to pursue a team with strong bonds and people with whom you can produce entertainment to elevate things further.
The same is true outside of BABYMETAL, no matter how big things are, don’t cut corners and challenge your soul.

Because I get to participate in work where we inspire other people’s hearts, my duty, most of all, is to experience the feelings of gratitude I receive from fans. This is my weapon.
Still, as BABYMETAL’s popularity increases, there are also a lot of negative opinions. But more than those opinions, it is more important to concentrate on the happiness fans give you from their hearts, and that “you’re doing a job where you’re giving more and more people joy.”

Our team BABYMETAL is doing something new that has never been done until now.Dismissals like “Idols with a metal backing band” do not represent what we do on stage.
And the number of fans who enjoy us and give us their support from all over the world continues to grow and at unimaginable speed.

The amazement that we can share this miracle with so many people… priceless. Great writers write great songs, and they are songs that resound in SU-METAL’s heart and in YUIMETAL and MOAMETAL dancing. And the Kami band is devoted to letting this shine, and receives support from the staff and from KOBAMETAL who puts everything together. And most of all, all the mates who sincerely enjoy themselves and honestly power us up, and always feel that burning passion in their chest. I think the team is all of us.

No doubt, We are BABYMETAL(o)乂(-^) I cannot contain my joy about this being true. It was announced at Makuhari, but we’ll be playing more shows in Japan in September.
What sort of things are people going to see? What kind of space are we going to create with everyone? The fun stops from now on. I hope we can make even greater strides.

Snap4

P.S.: Thank you for the many recent Facebook friend requests from Japan and abroad, but I only use Facebook for close friends, family, and acquaintances. Please understand, because I don’t even have plans to make a page for me as an artist.

Well then, these are simple ramblings, but thank you for reading this, everybody.
(B・o・H)

Translation : american_daimyo on Reddit

Kami Band: Takayoshi Ohmura Guitar Solo 2014/9/6

大村孝佳 10th Anniversary The Chronicle of Metal Lovers

Takayoshi Ohmura

Takayoshi Ohmura (大村孝佳 Ōmura Takayoshi?) is a Japanese musician popular as a rock guitarist. He was born on December 26, 1983 in Osaka. He started learning piano at the age of three. By the age of 11 he had started to play acoustic guitar moving to electric guitar at the age of 14. By the age of 17 he was heavily into hard rock/heavy rock of the western-style music and devoted himself into it.

https://www.youtube.com/watch?v=vMWwPLj8fQU

BABYMETAL’s Takayoshi Ohmura new solo album!

Takayoshi Ohmura (BABYMETAL’s Kami band Guitar) solo album “Devils In The Dark -Final Edition-” will be released on January 28th.

Takayoshi

“Devils In The Dark -Final Edition-” is the album that is special by adding a live DVD in the “Devils In The Dark” original album, which was announced in December 2012.

Chris Powers (Razer), Russell Allen (Symphony X), Francisco Fareri, with addition of Marty Friedman and Nishiwaki Tatsuya (LIV MOON) are the domestic and foreign artists who are participating.

The DVD is a liveconcert of Omura debut 10th anniversary that was held in Tokyo · SHIBUYA REX in September of this year. The show feature members from BABYMETAL’s Kami Band such as Mikio Fujioka (G / TRICK BOX) and Leda (G / ex. DELUHI).

You can pre-order Devils In The Dark -Final Edition on CDJapan

Takayoshi Ohmura “Devils In The Dark -Final Edition-” songs (guest artist)

CD
01. Never Surrender (Città Thani / Marty Friedman)
02. Wanna Get A Good Love (Chris Powers)
03. Delusional Dreams (Russell Allen / Francisco Fareri)
04. Poison Eyes (AKANE LIV)
05. Trust
06 . The Night Of USA (Chris Powers)
07. Solitary Universe (TOKI / Nishiwaki Tatsuya)
08. Shadows Of Eternity (Chris Powers)
09. Under One Flag (Citta Thani)
10. A Little Song (Nishiwaki Tatsuya) < bonus track> 11. The Night Of USA TOKI Ver.

DVD
「The Chronicle of Metal Lovers」
01. Shadows Of Eternity
02. When I Close My Eyes
03. High Works
04. Unite
05. Wanna Get A Good Love
06. Never
07. Poison Eyes
08. Under One Flag
09. Pleasant Surprise
10. Material Tone
11. The Cataclysm
12. Cry For The Faith
13. Rain On Me
14. Nowher To Go
15. Night Of U.S.A.
16. Solitary Universe
17. Tell Me Why
18. Holy Tomorrow
19. Distant Thunder
20. Never Surrender


Live Members: Takayoshi Ohmura (G) / Kuze Atsushi (Vo / Concerto Moon) / Nakaze (G / Fo’xTail) / Shoyo (B / CROSS VEIN) / SHINGO (Dr / SIXX FOURTEEN) / Saki ( Key / Albion)
guest: Fujioka Miki-dai (G / TRICK BOX) / Leda (G / DELUHI) / TOKI (Vo / C4, STEALTH)

BABYMETAL’s Takayoshi Ohmura new solo album!

Takayoshi Ohmura (BABYMETAL’s Kami band Guitar) solo album “Devils In The Dark -Final Edition-” will be released on January 28th.

Takayoshi

“Devils In The Dark -Final Edition-” is the album that is special by adding a live DVD in the “Devils In The Dark” original album, which was announced in December 2012.

Chris Powers (Razer), Russell Allen (Symphony X), Francisco Fareri, with addition of Marty Friedman and Nishiwaki Tatsuya (LIV MOON) are the domestic and foreign artists who are participating.

The DVD is a liveconcert of Omura debut 10th anniversary that was held in Tokyo · SHIBUYA REX in September of this year. The show feature members from BABYMETAL’s Kami Band such as Mikio Fujioka (G / TRICK BOX) and Leda (G / ex. DELUHI).

You can pre-order Devils In The Dark -Final Edition on CDJapan

Takayoshi Ohmura “Devils In The Dark -Final Edition-” songs (guest artist)

CD
01. Never Surrender (Città Thani / Marty Friedman)
02. Wanna Get A Good Love (Chris Powers)
03. Delusional Dreams (Russell Allen / Francisco Fareri)
04. Poison Eyes (AKANE LIV)
05. Trust
06 . The Night Of USA (Chris Powers)
07. Solitary Universe (TOKI / Nishiwaki Tatsuya)
08. Shadows Of Eternity (Chris Powers)
09. Under One Flag (Citta Thani)
10. A Little Song (Nishiwaki Tatsuya) 11. The Night Of USA TOKI Ver.

DVD
「The Chronicle of Metal Lovers」
01. Shadows Of Eternity
02. When I Close My Eyes
03. High Works
04. Unite
05. Wanna Get A Good Love
06. Never
07. Poison Eyes
08. Under One Flag
09. Pleasant Surprise
10. Material Tone
11. The Cataclysm
12. Cry For The Faith
13. Rain On Me
14. Nowher To Go
15. Night Of U.S.A.
16. Solitary Universe
17. Tell Me Why
18. Holy Tomorrow
19. Distant Thunder
20. Never Surrender

Live Members: Takayoshi Ohmura (G) / Kuze Atsushi (Vo / Concerto Moon) / Nakaze (G / Fo’xTail) / Shoyo (B / CROSS VEIN) / SHINGO (Dr / SIXX FOURTEEN) / Saki ( Key / Albion)
guest: Fujioka Miki-dai (G / TRICK BOX) / Leda (G / DELUHI) / TOKI (Vo / C4, STEALTH)

Bassist BOH interview from Hedoban magazine (vol.4)

A bassist of Kami Band – BABYMETAL’s back band – Bassist BOH talked about his early days, principle of life and music and love for masters of bass and BABYMETAL! This is a translation from Hedoban magazine vol.4, first apperared on Reddit r/BABYMETAL.

sKoorOR

Q : In this interview, I’d like to hear from you how a player with super technique acquired it and built a reputation, also like to know your music roots and current activities.

BOH : It was around the end of my fifteen… Just before my graduation from a junior high. I went to one of my friends’ house and there were a guitar and a bass. I tried both but only four strings it had so… (laugh)

Q : The common “It must be easy to master!” thing (laugh).

B : Right (laugh). So it was from my high school days when I begin my band life. It takes amount of time even to be a bass player of some extent, doesn’t it? I kept practicing in my room everyday right after school, joined Keion-Bu (a light music club) in my high school, formed a copy band and practiced. We didn’t do our original stuff back then. We boys in my days were like… such as “Wanna play Glay!” “Luna Sea!” And girls “Wanna sing Judy & Mary!” We’re like that… I sometimes joined to copy bands that mimicked major ones in top 10 charts. I felt like wandering for sessions since then. I wanted more chances to play my favorite songs from various bands. I didn’t have a feeling of belonging to any specific band. And at school festivals it was difficult to make my application as one man bassist, so I had kept good relationships with bad boys in advance to keep them practicing seriously (laugh), to make my band improved in a good mood. I liked to do all these things.

Q : Was there any reputation of you back then as “I know a cool bassist!” among these boys?

B : I concentrated on my play and didn’t think I was cool, but people around me said so. Same in my music school days. I was a kind of man to devote myself to improve my technical skill.

Q : There are those, as an example, who began a metal band and become a person to say “Who do you think I am?” when he’s just asked some J-pop bass guitar. You weren’t that kind of player, were you?

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B : No, I wasn’t. Grooves are so different between genres. I rather liked to find new styles of play through various experiences. Cool bass sound isn’t a major contributor to make a song better. So I learned even from playing uninteresting songs to me, or I didn’t like assigned notes, or I didn’t feel “these phrases came to me.” And my play turned out to be a piece of ensemble and songs became cool in the end when I played as I told.

Q : And you are famous for the six-string bass guitar. When did you begin to use it?

B : 18 years old. I used a four-string one from 15 to in a middle of 18 years old. I have been in love with Billy Sheehan for a long time, so I loved shredding and chordal play. But I had misunderstood completely… that these were normal play of the bass because of my devotion of mimicking Billy Sheehan (laugh).

Q : Did you always like Metal?

B : I only liked Billy Sheehan so much (laugh). We copied almost Mr. Big only. I went from Billy Sheehan to Talas and David Lee Roth and more. Then he began Niacin, I just followed him into Fusion world.

Q : Do others with the six-string naturally catch your eyes?

B : There is little communication happened because bassists with it is rare to be met. A six-string is relatively new. The one invented that is Anthony Jackson, a jazz bassist. So the six-string seemed not for Rock or other genres originally. And if someone uses it for Metal, we must be interested, right? And John Myung of Dream Theater. The band doesn’t rely on momentum. So easily they play songs strictly constructed, so difficult for other players. With astonishingly tight rhythm. I got surprised so much. I began to put my eyes on polymeters. On how to count that. On making phrases with scales normally too difficult to remember. On playing these things smartly. So Dream Theater left great influence on me.

Q : I don’t know much about instruments, but your double-handed tapping gives me awe. Is it an influence from Billy Sheehan?

B : Billy Sheehan is one of them. Another is a jazz bassist Victor Wooten. He’s the man, even he did one song with tapping only. As for tapping we see a right hand first, but a left hand does pulling and hammering, doesn’t it? I misunderstood these were also one of tapping techniques, so I only do them by my right hand… it might sound odd to say “only”. For me, doing tapping is the same as playing the piano. My fingers tapping in double-handed play are hammers in the piano. So I just imagined playing the piano in the middle of my solo play for Babymetal at Budokan, as an example. I made my sound with multiple fingers on multiple strings, contrary to the guitar. It is very much different from conventional tapping.

Q : Who do you think are great bassists other than Billy Sheehan?

B : John Myung is astonishing as I mentioned. And it might be controversial… I like Robert Trujillo as a most successive bassist in Metallica. His stability is surprising. I saw them playing at Summer Sonic, he looked cohering other member playing free. And his play has so much power as his appearance (laugh). But it is not brutal but sensitive. He had played so funky with a lot of slapping as shown in his former career (in Infectious Grooves), but now in Metallica he plays so much differently which fascinates me. He plays in different styles even he doesn’t like.

Q : Studio musicians don’t seem to stick with live performance, but BOH-San loves it, don’t you?

B : I do! I think nothing happens without taking a chance. And requirements for studio musicians have been changed, we have to do better on stage now. Standing still behind main performers isn’t enough anymore. Computers are everywhere, so demand of us… our customers has been decreasing. Our customer is an artist. In this difficult circumstance, I have to have something different from others to get more offers. Needless to say seniors with career are outstanding skillful musician, I have to catch up with these people. When I asked myself what they couldn’t do, I play the six-string as my main instrument. Someone gave me an advice as “The six-string is prospective. There is a few people with this,” once I began to learn it. But when I began to use it they said “That monster of the bass guitar gives you few offers. It’s just acrobatics.” I had no ear to listen, even I misunderstood that they didn’t give me an advise but express their frustration of unable to play it (laugh).

Q : BOH-San seems to have quite a strong mentality, don’t you?

B : I’m positive in nature. One thing I always avoid is to fool or speak bad for opinions and plays of others. That’s what I keep trying. There are many moments to want to say something bad like “This man’s breakdown is bad as hell!” There are also moments of “You should play more seriously.” But I don’t say any of these. It will be more productive just to imagine the way that they can play better. When being forced to do something too much, everyone can say “It’s impossible! I quit!” But a feeling is nothing to compare if you finally made it with impossible level of effort you could.

Q : From what you said I think such attitude is a wisdom of BOH-San who survives only with a bass guitar. And what was your biggest work after your graduation from music school?

B : My first one was about a song Hitoiro of Mika Nakajima. It’s about the time of a movie NANA 2. I played at lives and on TVs… in the back band. It’s my first time to attend to Kouhaku Uta-gassen.

Q : How old were you at the time?

B : I was 24 back then.

Q : So young for it!

B : I don’t know well about it. I also played at Music Station and Utaban in the same period, I was 24, too when I experienced prime time music programs as a member of back bands and jobs at large venues like Makuhari Messe at the first time.

Q : Experiences of big stages as a back band of Mika Nakashima and others… Do you think these experiences give you much feedback?

B : I had played only live-house like smaller places. Kawasaki Club Citta was largest in my career back then. But it was suddenly upgraded to hall-class places far larger… It’s like I was in a dream, isn’t it? Like I played in a TV program that I watched just before.

Q : It’s even great that you went straight to Kouhaku, wasn’t it?

B : At the end of the day, a session musician like me is a job that owes most to others. We only play behind the famous. We can’t be there if they are not there. And tons of pro musicians are there around me, including my elders. But these famous ones just choose me. I remember it impressed me lot. It also added more responsibility on me. To be honest, I was picked up from those who were better than me. I couldn’t sleep every these days because of the responsibility or… nervousness from the responsibility. Not to say there are air plays for TV jobs, but there’s times when I couldn’t stop my hands trembling even at air plays.

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Q : You play bold as a god of base at BABYMETAL lives, I can’t tell whether it’s because of these experiences or not…

B : By contraries now I can express myself better at larger stage like that. I might get nervous at small live houses of 100 or 200 audiences though I haven’t played at such venues lately.

Q : Is it because of closer eyes of audience?

B : Rather because of severe tolerance for sounds I make? We can hear all the nuances in a small place. But I say I play at larger places with a wish that all of my notes hit audiences right. At Budokan audience can get a clearer view of backwards of the stage than expected even from far behind. Artists look so small from the audience, but audiences are closer than expected from the stage… Like “So close as it is!” More, as to BABYMETAL other members give me a lot of sense of ease. And a will of the trio for performance is tremendous, so I can’t afford to take a single breath. All of Kami Band members must share a tension that the trio defeats us if we do it lasy. We are leaning a lot more from playing with them than with long-career artists. But it’s not because such little girls do their best, but because we just have fun from playing together with three artists. Babymetal is the most enjoyable in my activities.

Q : Was there any request from Kobametal at the moment when you became a god of bass?

B : The first one from Kobametal was, “No need to hold back by a reason why they are a girl or an idol. Just do it as heavy and loud as you can.” All the member of Kami Band loves Metal, but can’t do like that in another jobs, can we? So nothing makes us happier so much because we do our job and can enjoy it!

Q : So the feeling I got that Kami Band must have enjoyed at lives from footages and pictures is true, isn’t it!

Bassist BOH

B : I bet. But at the same time Babymetal is one of the hardest jobs ever. Its play is severe. And gods of drum and gods of guitar are incredibly good and severe. Once a member play wrong a little bit… even get out of the rhythm a little bit, all others throw a look at the one. (laugh) and more to say, it has a concept that we deliver only a good play as possible that we developed as possible. Our first objective is to re-create original sound. First we try to play it live just the same as programmed version, then we make some arrangements for live when we feel odd though we played just the same. Anyway it’s only for minor things.

Q : Ijime, Dame, Zettai sounds like band sound. On the contrary songs like IINE! doesn’t so much. So are songs like IINE! more difficult for you?

B : IINE! is difficult! (laugh) Difficult from its first note! Its killer part is something that normal human don’t do… (laugh) I play that part just the same as the original source. The first concept of Kami Band was “Be technical.” But having smooth movement of fingers, good rhythm, tight sound and such are just minimum requirements, top on that need good collaboration to develop songs.

Q : Which is the most memorable Babymetal song for BOH-San?

B : It’s Akatsuki and Ijime, Dame, Zettai. It’s not because of technical things but because of their structure which are so complicated and long. Paces are faster than those I play in my head (laugh), so once I play late I’m over. As for bass technique the most difficult is… Akumu no Rondo is difficult, but… Babymetal Death would be the one. All the bass riffs are unison with the guitar’s and my fingering is same as the guitar’s… A neck of the bass is wider than the guitar, so I have to keep my fingers wide to play it through.

Q : Is it impossible without a six-string one?

B : You can do with a five-string one. But the song requires positions that normally are not to be used, so it is the most difficult in physical and technical aspects. And its tempo is fast.

Q : Which song is do you think suitable for players as a first song to copy Babymetal bass?

B : I think it’s basic to master Catch Me If You Can. Or simpler ones like Doki Doki Morning. It’s simply impossible to begin from Megitsune or Ijime, Dame, Zettai. (laugh)

Q : Which Babymetal live left you an impression most?

https://www.youtube.com/watch?v=T5eCkB4lQFM

B : It’s Budokan, yeah. The girls got a record of the youngest performer there by that live. On top of that, the stage was not a half configuration but 360-degree one with audiences packed as possible for their music genre… I felt they were going to go worldwide while I played on the stage! There was a power in the hall at the live. And my conviction at the live came from not only the power but also the moment when I felt future big wave yet to come. I never thought of that hype for my solo bass play. They didn’t come to see a back band but the trio at first, did they? I couldn’t help but getting hyped by that applause from audiences that came to see the trio singing and dancing.

Q : You did shredding and tapping in rehearsals at Summer Sonic, Loud Park and other performances.

B : I did, I did. (laugh)

Q : Audiences cried, “Woooooow!” with hype. (laugh)

B : It’s also beyond my expectation. (laugh) For me I just made sure in advance whether those super-fast shredding phrases sounded right or not. It’s okay if it sounds right, because any play in a showtime is assured. I play that just for confirmation. I don’t play that for my exposure. (laugh) It’s just a confirmation purpose.

Q : Really? I thought there was some intension in you. (laugh)

B : It’s my routine for confirming my sound that I do some rough shredding and it’s okay if it sounds right, especially when we don’t have enough time to adjust our sound at a rehearsal. Any simple play sounds right when such fast play can sound right, doesn’t it?

Q : I see. So these audience reactions were out of the blue for you?

B : Totally. (laugh) but I am rather a type of person who says “Because I always want to play as much as I can!” when fans ask me why. (laugh) And I have no other choice to say that. (laugh)

Q : What is the most interesting aspect of Babymetal do you think to BOH-San? Though your answer might be overlapping to what you said now.

B : It would be that it is a fusion of completely different things together, and no one including Babymetal themselves knows what’s next. At the beginning of the assignment last year, I never thought that it could sell out Budokan and go abroad in that early. It’s beyond my expectations that reactions would be so good like that? and it hit the Billboard chart? More of it, Babymetal is that viral but I am only mentioned and recognized as a god of bass… I feel so good about that.

Q : Wait… You feel so good about that. (laugh)

B : It is so much interesting to me. (laugh)

Q : In my image as an amateur, all of you are an independent player. So I think you would want to sell your names as possible.

B : There’s such urge in my heart indeed. But while I play with hiding my name, only die-hard Babymetal fans do their studies to find my name. Those who know my name really love Babymetal. Only these people know my name… It makes me feel good. I have some fun from tweeting not “I’m going to play for Babymetal tomorrow!” by myself but “I’m on a rehearsal now,” with vague description, then retweets go spreading slowly. Now is the time that strong appeals like “I’m going to do it!” don’t appeal a lot but rather things hidden from people make the way to the world… Its power is surprising, I think.

Q : I have now an impression from you that you love Babymetal so much.

B : Yes, I do! No Kami Band member hates Babymetal at all! We can do what we like. Yes, we must overcome difficult riffs to play strictly and unfamiliar phrases to master perfectly. But. There’s less freedom to improvise, but shredding loud at large venues makes us happy as a musician and there’s not so much opportunities to do that in other stages. There are not so much opportunities to use all of my skills. In other words, Babymetal isn’t easy at all as “Let’s play to make a singer to sing easy.” We were asked to put a pedal to the metal. (laugh)

Kami Band

Q : Have you never been asked such a request before?

B : No. (laugh) Most of them were “Please make the volume lower because we couldn’t hear the voice.” On the contrary in Babymetal we band member rather said, “It’s crazy, isn’t it !? It’s beyond loud, isn’t it!?” (laugh)

Q : For the end of this interview, what’s your advice to those who are in a music school with a dream of becoming a pro soloist, and those who want to make a living as a soloist?

B : I think cooperative mind is priority.

Q : Cooperative mind?

B : Yes. Not to mention that we go forward with a will to do what we want to, but a point is whether we have flexibility for others or not. When you are asked to play any specific bass, you better not say that you won’t because it is against your belief, instead say that you’re happy to do it but you want to try your style if they allow. Only those who can say like that survive. And those who simply love to learn music do. It is whether or not you have open mind… or creative feeling who aren’t the brain-trust, learn it and forget it and keep accepting new things… even things out of music theory. And more, whether you can follow advices from others or not.

Whether you can keep your mouth shut or not – you better not say much, but hold it in your mind even if you have a ton of words to their advices. It’s different from being obsequious. It feels so good when we do it without objection and surpass those who tell us what to do, doesn’t it? One thing everyone misunderstands is that they try hard to be unique. I believe uniqueness is something only others can see. All we can do is to do as our hearts go and others evaluate whether you are unique or not. Others say, “BOH is a rare thing with a six-string,” or “He plays the bass as if it weren’t it.” Their evaluation includes my outfits. So I never think of insisting that playing as a member of Kami Band with that face painting is my uniqueness. What I do now completely owes those around me. I’m so happy that I began to be recognized by these and those things spreading out, but I don’t do all of them intentionally. Otherwise what I do intentionally is to deliver a good play. It’s the best way, isn’t it?

Kami Band who’s who – Another god of guitar, drum and programmer

Kami Band is a back band for BABYMETAL – its member is a god (Kami) of music summoned by The Fox God stage by stage. All the Kamis might have their own jobs.

1921145_10202540270581288_1614117966_o

So members are not fixed. In the previous article, this site explained Takayoshi Ohmura (guitar), Leda (guitar), BOH (bass) and Aoyama Hideki (drum) before. But other Kamis are on board. Let me explain Mikio Fujioka (guitar), Yuya Maeta (drum) and Hidefumi Usami (program)!

Mikio Fujioka – god of guitar

Some fans call him as Ko-gami (a small god) in Japanese with friendly feelings, compared to Ohmura Takayoshi as Oh-gami (a tall god). We can see his boyish outfit in a lot of his lecture books, columns on popular guitar magazine Young Guitar, also in videos of his plays. He’s a fulltime lecturer of a music school MI Japan which a guitar maker ESP runs. He’s rather a jazz and fusion player but plays all genres excellently. He was a student of it and became a lecturer right after he graduated. The Next video shows his various and skillful plays with Babymetal, in some other bands and other performances.

As a god of guitar, he appeared less than other guitarists Leda and Ohmura. So he is like a god of gods of guitar. It is true in a way because he taught Ohmura at the school. (By the way the rest Leda was also from the school.) He was first summoned at Inazuma Rock Festival 2013, and next appearance was BABYMETAL WORLD TOUR in this summer in France, German and the UK including Sonisphere festival. He saved Leda and the band on Sonisphere stage when Leda’s guitar had a trouble and took a few minutes for another one in the middle of the last song Ijime, Dame, Zettai.

Yuya Maeta – god of drum

doko_maeta

He was first summoned to BABYMETAL live in Japan on June 2014. And he played at the LA live and Lady Gaga support acts in this summer in the US, and the return tour in NYC and London. He was a support drummer for Blue Man Group and began to play with Marty Friedman Band from this summer. The following video is Headbangya!! with him in NYC live.

Hidefumi Usami – god of program

He is a programmer, arranger and also a composer who worked with Gospelers and other singers and bands. He was first summoned for BABYMETAL Japan tour on this June and has supported all of their live performances since then.

Kami Band who’s who – Another god of guitar, drum and programmer

Kami Band is a back band for BABYMETAL – its member is a god (Kami) of music summoned by The Fox God stage by stage. All the Kamis might have their own jobs.

1921145_10202540270581288_1614117966_o

So members are not fixed. In the previous article, this site explained Takayoshi Ohmura (guitar), Leda (guitar), BOH (bass) and Aoyama Hideki (drum) before. But other Kamis are on board. Let me explain Mikio Fujioka (guitar), Yuya Maeta (drum) and Hidefumi Usami (program)!

Mikio Fujioka – god of guitar

Some fans call him as Ko-gami (a small god) in Japanese with friendly feelings, compared to Ohmura Takayoshi as Oh-gami (a tall god). We can see his boyish outfit in a lot of his lecture books, columns on popular guitar magazine Young Guitar, also in videos of his plays. He’s a fulltime lecturer of a music school MI Japan which a guitar maker ESP runs. He’s rather a jazz and fusion player but plays all genres excellently. He was a student of it and became a lecturer right after he graduated. The Next video shows his various and skillful plays with Babymetal, in some other bands and other performances.

As a god of guitar, he appeared less than other guitarists Leda and Ohmura. So he is like a god of gods of guitar. It is true in a way because he taught Ohmura at the school. (By the way the rest Leda was also from the school.) He was first summoned at Inazuma Rock Festival 2013, and next appearance was BABYMETAL WORLD TOUR in this summer in France, German and the UK including Sonisphere festival. He saved Leda and the band on Sonisphere stage when Leda’s guitar had a trouble and took a few minutes for another one in the middle of the last song Ijime, Dame, Zettai.

Yuya Maeta – god of drum

doko_maeta

He was first summoned to BABYMETAL live in Japan on June 2014. And he played at the LA live and Lady Gaga support acts in this summer in the US, and the return tour in NYC and London. He was a support drummer for Blue Man Group and began to play with Marty Friedman Band from this summer. The following video is Headbangya!! with him in NYC live.

Hidefumi Usami – god of program

He is a programmer, arranger and also a composer who worked with Gospelers and other singers and bands. He was first summoned for BABYMETAL Japan tour on this June and has supported all of their live performances since then.

BABYMETAL are back to their Japan homeland

BABYMETAL and Kami band member has just post this picture and comment on BABYMETAL official instagram account.

We got back to Japan! Thank you for supporting “METAL RESISTANCE EPISODE Ⅱ” world tour 2014!
See U in “METAL RESISTANCE EPISODE Ⅲ”2015! Wherever we are,we are “THE ONE”! #BABYMETAL #NYC #London #UK