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.
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?
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.
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!
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?
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)
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?
My impressions with Babymetal in New York and London 2014, 11/11
We finished our two additional concerts on the World Tour of New York and London without incident.
Things were really full out exciting this time as well.
First about the 11/4 New York show
Not only this show with Babymetal but for myself as well this was the first time to play at Hammerstein Ballroom.
I arrived at the concert hall amidst a full blown case of jet lag.
First we started with a sound check followed by rehearsal.
Due perhaps to the way the hall is constructed sound really reverberates.
The sound here is just a slightly different taste from the way things sound in Japan.
Maybe because the voltage is higher here than in Japan, or maybe because I am in high spirits, the sounds come out powerfully and with a rich feeling of expression.
For myself personally, at this show I have changed from a Shure ear monitor to a Fitear one and this makes it possible to hear more minute and fine details in all aspects of performance.
Following rehearsal I went outside and found that some fans had already started waiting in line…
I thought, “No one will recognize me if I am not all made up”…but I was found out.
People called out to me and I stopped to take pictures with them.
I try to approach these kinds of situations with an attitude of gratefulness and appreciation (Seeing as these will become good memories for both parties)
Some people that I always see in Japan are here as well. Thank you for coming from so far away.
If we get too many people taking pictures together it actually become a nuisance for others so I hurried back as fast as possible and changed in to my stealth disguise of being the Kami of Bass.
From this moment on, no matter how itchy my face gets I can not scratch. (And the entire head in my case)
No matter how tired I am from traveling, just before the actual performance I mysteriously get charged with energy.
Almost time for the Babymetal show to start.
The feeling of nervousness that exists from the calls from the audience the moment we step on stage to time we start playing contains an indescribable feeling of comfort and stability.
And then when the performance begins I can truly feel my life energy burning.
“This is my dream”
I murmured this unconsciously as I was playing.
I get the impression that rather than just going wild and thrashing around, the New York fans seem to really listen carefully to the performance and give themselves over to the sounds as they take them in to their respective perspectives.
I was also surprised by the large number of people who were taking videos.
Since in Japan it is a matter of course that filming is not allowed it was quite an interesting experience to brush up against such a difference in culture.
I saw some people carrying flags that said, “BOH” on them as well as some people dressed up like me. I am grateful for this.
We in the Kami band are really happy to have attention paid to us and to have fans call out in support.
Su-metal, Yuimetal and Moametal are members and we are the back band, you see.
We could not be paid so much attention as a back band in any other country or setting and so I am
filled with gratitude.
Next, the 11/8 London, O2 Academy show
The tickets were Sold Out!
It started raining before the show began and I got worried about the health of the fans getting soaked waiting in line outside. I hope they don’t catch colds.
Perhaps due to England being the birthplace of Rock the excitement and energy given off made it feel like the hall would collapse.
There was a lot of power behind the Mosshushu what with there being so many largely structured Europeans.
I beg of you don’t get injured or cause injury to others, OK?
This theatre type of historical hall has transformed into a Metal Live house.
I feel so fortunate that while performing I am able to take in the view of so many different types of people from young children to older metallers all enjoying the show together.
We are all humans, all the same. We can all have a great time together going beyond differences in race, religion and the environments we were brought up in. That is one of the charms of music.
I am proud of the fact that we can do this with Babymetal.
OK, now about the contents of this tour…
I am sure that the fans from Japan as well as the fans living overseas have verified this through videos uploaded to Youtube….but Su-metal, Yuimetal and Moametal are all continuing to grow.
Giving my own impression I would say that it goes without saying that Su-metal’s vocal range as well as her power have both increased but it is her “ability to convey her feelings to the audience” that has dramatically gone up.
However, it is not that she is particularly trying to sing more skillfully it is that she has a wonderful aura (presence) as a vocalist and frontman (frontwoman?).
The same goes for Yuimetal and Moametal. They are not simply dancing in unison with the songs, one can feel the the passion they bring to the stage, and the unshakable intent they have in exciting and entertaining the audience coming from the bottom of their hearts.
Being able to sing while dancing such wild and aggressive dances is something in itself that is no small feat.
Babymetal plays without MC…This does not simply signify that they perform “without a break time”, it means there is no place to slack mentally and there is no leeway to kind of zone out and no way to do things over…
If one is lacking in even one of the features of concentration, mental power, Kiai, stamina, guts, or passion one could not carry these performances out and yet the 3 members do it everytime.
I have an unlimited amount of respect for these 3 girls.
When I was a Jr. High/High school student I would not have been able to carry on and do my best the way they do… really this is not a trifling matter.
I respect the 3 members of Babymetal as artists.
There are also skills that we have acquired through these performances together with the girls.
We are not treated simply as a back band and are given emphasis as the Kami band, an important part of the Babymetal show.
And without mistake it is Su-metal, Yuimetal and Moametal that pull up and give significance to the existence of us, the Kami band.
It is a matter of course that our performing abilities and techniques are professional in caliber but we also perform with high quality not only loud, showy performances but also back up music and sound effects.
It is because of the incredible combination of members who can perform with these skills that we are able to play music as Babymetal that seems to surpass the human range of ability.
Not just playing as a back band but changing us into being an existence with value is the existence of the 3 members.
And also, this goes for the fans who are always supporting us.
Without your existence there would not be the Kami band that we are now.
Especially in Japan it is very rare that session musicians like us ever get a great deal of attention paid to them.
There seem to be a lot of people who do not understand the difference between a bass and a guitar.
Amidst this background it is because of you all that come to be recognized and regarded by larger population of people as being “BOH, the man who plays the 6 stringed Japanese bass”.
The house I live in, the car I drive and the beer I drink are all because of you, the fans.
I am playing the bass just because I like to do so.
This occupation comes into being because there is and artist and the fans who support and cheer on that artist.
My talk has gotten off track a bit.
Doing these two shows and I may be repeating things, of particularly deep impression was the increase in “the power to reach and affect the hearts of the audience” of the 3 members.
At the end of the London show we performed a new song that had not previously been performed.
In spite of the fact that this was the first time to perform the song and it was done in a country away from home, the song created a chorus call and response feature, the fans kept cheering after the song had ended like they didn’t want to leave, and so many fans were crying holding up their hands in the sing of Kitsune-sama moved by a song whose lyrics they could not understand. Seeing all of this I was convinced that we will see “these girls get ever, evermore great”.
I do not care a hoot about these opinions one sees such as “Babymetal is not Metal.” Or, “Well, real Metal is….”
These kinds of disputes are just ridiculous and there is no room or reason for debating about them.
These girls have gone to a place that is way beyond any of these trifling matters.
I personally have never considered what genre Babymetal should be classified as.
What I have interest in as a Kami band member (Bass no Kami) is “continuing to create Babymetal shows that are one and only, original and unique in existence together with the 3 girls of Babymetal and the world wide fans of Babymetal.” And that is all.
Further, I hope to continue to polish my playing skills and promulgate the Japanese 6 stringed bass to as many people as possible. If I can do these things nothing could make me happier.
The things I have acquired from working with Babymetal I hope to utilize elsewhere, and the things I get from other performances I hope to bring to Babymetal and the things I have gained through many experiences I hope to make use of in my own life.
That is the 6 string bass path of the bassist BOH.
Gratitude and thanks to all, feel the connection of all, provide dreams while chasing them.
That is my life.
And as you can see, my blog from today has become officialized.
I think this will make it possible for more people to be able to read my blog and that is something fun to look forward to.
By the way, my previous blog was translated by someone overseas, so I hope that will happen again (translator note: that appears to be the case)
I do not have the skill to translate such a long blog.
To all the fans throughout the world-let’s continue to excite and build up Babymetal together.
I look forward to seeing you all again at a stage filled with Love, Peace and Kawaii.
I have written earnestly so I would like to add one more comment…
I am not bald due to sickness. Do not consult with a doctor if you start getting thin on top when in your 30’s!
If you start to lose hair, just shave it off yourself. Do it openly. You will understand this if you do it.
(translator note: I know exactly how he feels as I did the same thing in my late 30’s. Good advice)
Here is a translated text from Bassist BOH blog, BOH is BABYMETAL live band aka «kami band» bass player, by Dokoiko and Monster Panda on Reddit.
I’m late of mentioning it. The last lives of Babymetal World Tour taken place at Makuhari Messe on September 13 and 14. The hype was beyond expectation. I’ve never seen that enthusiasm on a live at Makuhari Messe before. Reportedly there were some cosplayers of Kami band… Some of them were in the bassist cosplay even who shaved their heads. I was moved by their dedication. I think it’s usual to do artists’ cosplay and unusual to do support bands’ one, we Kami band member hyped reading tweets from audiences.
As for the lives, every audience might have felt development of Babymetal after touring around the world? I felt Su-metal-San’s high speed development of her voice with a stretch and latitude. And felt dance of Yuimetal-San and Moametal-San sharpened more.
Babymetal has no stage talk and only playing music from the beginning to the end that is so hard. We never afford a moment to breathe from our appearance to exit. The three improve their performance better and better in every lives of that hard. I do respect them. Seeing that we band member get motivated a lot.
I would never think of that for Babymetal or any other performances, I never take second best or just play what I told to do! Performance of Babymetal is something that the power, expectation and hype of audience strike us all the member on stage. I came to think again that a live is something to be built by everyone there. I’m so glad to share these precious moment with you all.
And I think our audience enjoy Kami band’s solo plays. It is the moment I can play without limitation… We ourselves enjoy it with slight changes of plays live by live, but I only do the same phrase because double tapping is my identity. In that moment I’m proud of myself saying myself “it’s good, isn’t it?” lol. Something like, “Do it if you can?” lol. My double tapping is often required different fingering with each hands, so I don’t think it can be copied with ordinary amount of practice (even I confuse about how to do by myself). And lately there are opportunities to do solo in other acts. But solo in Babymetal has different type of pleasure I can say… All of other Kami member have great skill, so playing solo seems like a battle which I love much. Also there is rare moment nowadays that audience take great notice of plays of support band in major scene in Japan. I say thank you for giving those opportunities and see you!
I hear various opinions about Babymetal and I think it’s great too. It means Babymetal has many aspects to be mentioned. It’s a band? Or Idol? Or Metal? What it is? Something like that. I don’t want to sound like a critic, but I say that is our audience that build up this situation. Not to mention about a talent of Kobametal-San. And how you the audience feel about lives of Babymetal is the right answer regardless of any comments and reviews by critics.
Is there a spirit in it or not – it just matters.
The word is enough for those who came to see Babymetal live. I believe that Babymetal is a combination of spirits of the three, the staff and the audience. A spirit is hard to be bent, hard to be defeated. To survive hard whatever happens around. To survive hard how much they criticize it. I feel honored very much to join that spirit of Babymetal, and that has a huge impact on my life as the bassist.
I’m not a type of musician who plays with one band, but the one who plays with many different bands. It teaches me a lot and I make a living from it. I think I’m a very blessed person. All the people I met through the music are special. I learn everyday from their way of thinking and approach.
What I learned from Babymetal can improve me in other performances, and vice versa. I love that feeling – to make everything connected. There are many who says everything is connected. But only those who want to see it can see it. There are uncountable amount of things in the world that we can’t see unless we want to see it.
I think only a person of great dignity can see all of them, but about the music related things I want to play the bass guitar with taking notice of all things around me – notes, passion and beliefs.
It went off-topic a bit, anyway I’m looking forward to seeing what’s next about Babymetal so badly. The rare artist from Japan that the world taken notice of – this is Babymetal.
I will do my best to improve myself.
From the solid, heavy backing to fascinating solo play only I can present with my six strings, I’m glad if I could give our audience a sensation.
Since this blog post was too serious…
Let me say one last thingヾ( ´ー｀)
I like beautiful ladies. I especially looooooooooove sexy and beautiful ones. Doki Doki.
That’s all for today (B・o・H)