[Alexandros]川上洋平 『ALXD』インタビュー/[Alexandros] Yoohei Kawakami 『ALXD』Interview


――今回の作品は、[Alexandros]が持つ多彩な音楽性が反映された作品ですよね。「Adventure」や「ワタリドリ」のようなポップな曲から「Run Away」や「Oblivion」のようなダンスビートが立った曲。はたまた、ライヴ映えする「Dracula La」や「Droshky!」といった曲まで、多様な表現は意識的に盛り込んだんですか?



川上「そうです。今回はピアノから作った曲が増えた一方で、この2年間はポップな曲が沢山生まれたので、その反動でレコーディングの後半はほんとにわずかなアイディアをもとにセッションで曲を作ったんです。「Boo!」とか「Famous Day」はそうやって出来た曲ですね。ただ、自分たちのやっていることを俯瞰で見ようと心がけつつ、自分のことだったり、自分の曲を客観視するのはすごく難しいんですよね。自分がいいと思っていて、人はそう思わないこともあれば、その逆もあったりしますし、そういう意味で、いい曲につながっていく可能性を見逃したくなかったので、自分だけじゃなく、4人のメンバーが判断を下す感度の高さは、このアルバムにおいて非常に大事なポイントでした」



――This album reflects [Alexandros] in all of its musical richness. You have pop songs like “Adventure” and “Wataridori” (Migratory Birds), but also dance beat-like songs such as “Run Awa” or “Oblivion”. On top of that, you have ostentatiously live songs like “Dracula La” and “Droshky!” Did you incorporate all of this expressive variety on purpose?

”Of course, we did want to express all of our different aspects as a band in this album. But more than that, I think, it’s a matter of losing our hesitation when it came to just showing our natural diversity, without trying to hide it. For instance, “Wataridori” is a song I didn’t really feel sure about. But when I asked the other members to listen to the demo, they all said,”This is pretty good!” so with me still half convinced only, we did the arrangements and played it in a live concert. It immediately became the main attraction of live concerts. From such experiences, I learnt to not overthink it when I write a song, and just let it come out naturally and give it a chance to become a good song.”――So you’re saying that your songs draw on raw, natural melodies as much as possible?

”Exactly. While there are more songs I started writing on the piano, as in the past two years we’ve created a lot of pop songs, for the second half of the recording we just started with a small idea and created most of the songs during sessions. “Boo” and “Famous” were made like this. Although, as I said, we had decided to be objective about our songs and work, it is very hard to put into practice. Sometimes you think it’s a good song, but the others disagree, or the other way around. In that sense, we didn’t want to lose the chance and let good ones slip by. For this album, the four of us together, not just me, made those highly sensitive judgments and that was, I think, the crucial feature of this album.”

――What did you pay attention to when arranging the songs?

“It’s like thinking about what to cook with raw ingredient. For the arangement, we invited Mr. (Hiroyuki) Moriyasu who’s worked with artists like Mr. Children and Salyu before, so it wasn’t just the four of us. Among others, he gave us advice on how to play the best sound in huge places like Budokan, Arena or Tokyo Dome.”









1 2 3 4



Load more