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spirit (of the dead)My name is Yuki. I play music in London and play guitar in a band called BO NINGEN. I came to London in 2004, right after I graduated from high school, so it's been a whole 13 years. I am 31 years old. I like drinking and movies. I was born in Nishinomiya City, Hyogo Prefecture, and used to play in Osaka back then.

spirit (of the dead)It was not that I wanted to study something in particular, but I thought I would leave Japan for now. At the time, a student visa was the quickest and easiest way to leave Japan, and there were not as many restrictions as there are now. I really wanted to go to New York, and I sent e-mails and stuff, but I never received a single response from American schools (laughs). I don't know if it was because my English was too bad or if they ignored me because I didn't take the necessary steps, but I decided I didn't want to go to America anymore. Then I decided to go to London. Looking back now, I think I wanted to leave Japan anyway. But I never thought I would live here this long. I think it is important that I spent my entire twenties here. It was my 20s after puberty and teenage years, so it was a sort of secondary period of personality development. I went to high school and lived with my parents until I was 18.

spirit (of the dead)No, not at all. I had a guitar as a hobby, but I didn't play it much. I didn't have any enthusiasm for music at all. I couldn't even speak English, so I had to fit in and didn't think about it at all. Looking back, I guess I just wanted to escape from Japan. That's how I ended up here. I didn't have a clear idea of what I wanted to do at first, such as playing music, making movies, or studying design.

spirit (of the dead)I went to college, which is not compulsory education, so I can learn any way I want. So I don't know that much about the education system itself. On the other hand, I did not go to a Japanese university, so I do not know anything about Japan. In fact, I almost never went to lectures at universities here. Even if I did, I didn't understand English at the time. So I stayed in the library and read books all the time. I liked books. Fortunately or unfortunately, we were able to learn how to read if we wanted to, because in our generation, the English we learned at school was how to write and read, not how to communicate. I don't know about now. So I couldn't speak, but I could read at that time. So during my three years of college, I had almost no friends. I stayed in the library until it closed and read books and watched VHS movies that had not been released on DVD for almost three years (laughs). (Laughs.) It wasn't hard at all, and that period was a time of just inputting. It was fun. I almost never went out at night. I didn't drink much, and I think that was part of what fed me and formed me into the person I am today.

As I said before, I only knew Japan up to high school, so it's hard to compare, but in the process of growing up in Japan, I was always fixated in elementary, middle, and high school on why this was wrong. Even if I wasn't a delinquent. There were times when I was told that if I did this, I would be scolded. In our generation, there were times when we would get arrested. "Why is it wrong? "Why is it wrong? Most of the teachers couldn't explain. I think it is a remarkable aspect of Japanese education that children are not given the ability to think. I can't say it all because it depends on the time period, school, and environment, but at least that was the case in my environment. And at the risk of sounding sarcastic, I somehow got pretty good grades even though I didn't work that hard. Oddly enough, I was a good student. That was one of the reasons why I went to an integrated junior and senior high school, and was accepted into what is called a "special course. The people in that course were supposed to go to famous private schools or famous national or public universities. But I was a bad student, and I was often scolded. I don't remember what I did, but one time I was scolded, the teacher called me and another good friend of mine and told us what we had to do. Around the second year of high school, you start to think about what you want to do and why, not whether it is right or wrong.

For example, it is the teachers and schools that present what a good life is. For example, it is teachers and schools that present what a good life looks like. When I told them that I didn't think so, they said, "That's wrong. I said, "That's wrong." When my friend and I said, "You're crazy," the teacher started ranting, "You think I'm crazy? He started ranting about it, and I got in his face. I was like, "That's good evidence, you're the one who's losing your shit. I laughed out loud, to say the least. I thought, "Oh, there's no need for me to stay here anymore. When I said I was going to New York or London instead of going to college, they stopped me. They said, "You should go to college here because you have good grades. Well, school is business, and I understand what he was saying. The person I am today is also the result of the decisions I made at that time. You may not even know if your decision was right or wrong until the day you die, or even then. I feel like I should follow up on those decisions, because they will determine the rest of my life.

spirit (of the dead)I'm working on the album "BO NINGEN," so I'm usually in the studio, not really doing live performances, but I'm in the studio writing songs all the time. I try to do it in the afternoon. I try to do it in the daytime because I drink at night. That's fine, but when I get a little drunk, the songs become something else entirely. If I want a song to stand on its own as a song, it is better to have a sharp mind, so I try to maintain a human life. I have to wake up in the morning, for example (laughs).

spirit (of the dead)I was born and raised in Kansai, Japan, but as I said before, I think of myself as a different person after the age of 18 and in my 20s. It may sound strange to say, but I think of it as a second home. As long as I don't live with my parents, I feel more at home here than in Japan. I have more friends here, and even the small things that I do everyday are more natural here. I have been working with "BO NINGEN" for about 10 years, so I feel that almost 80% of my life in London has come about since I met them.

spirit (of the dead)Yes, there is a lot of capital coming in, especially in the East. There are more and more chain stores. When the East was said to be interesting, there were many old places. Vacant lots and abandoned buildings. Land and prices were cheap because of the poor security situation. People used these places as clubs and avenues, and artists lived in warehouses. But nowadays, sadly, many of these buildings and places are sold to investors for money. I think the East has changed a lot, with the construction of disproportionately modern condominiums at a rapid pace. Of course it has become safer and there are more places to play. It is good that it is safe, but on the other hand, I feel that the character of the town and the sense of community is rapidly disappearing. But for the municipality, or the district, it's good, because it enriches the city. But as a community, it is not a good direction. What used to be there is disappearing rapidly. Interesting people are disappearing. It's like a town where bankers get drunk and say it's cool to play in Dalston. But I've lived here for a long time and I'm attached to it. East is still the center of the music scene, and I have a lot of friends there. There are still some things that haven't been lost, so I'm not ready to move.

spirit (of the dead)I am not from Tokyo and have never lived there, but from what I have seen, there are areas that are interesting right now, but they are scattered all over the place and do not intersect or change. Shimokitazawa has always been Shimokitazawa. I think that is very unique. In London, when a neighborhood goes down the drain, people move to cheaper and less expensive areas where there is nothing to do, even if it is not safe, and then the area picks up steam and repeats the process. I think the same is true of New York. I have heard and experienced the same thing in Paris and Berlin. That's why I feel that Tokyo is very unique. It's hard to say whether it's good or bad. However, I don't know anything about anything other than music, so if I were to limit myself to music, or more narrowly speaking, live music and the band scene, I would say that the only thing that is boring is that they don't intermingle. For example, people from Koenji and other areas along the Chuo Line don't hang out, have parties, and play in Aoyama, do they? The reverse is also true. I don't think everyone is like that. There may be various reasons for this division, but regardless of the scale of the event, there are so many venues for live performances in various parts of the city. I think there is definitely a mentality of accepting this but not that. There is a mentality that this is acceptable, but not that this is not acceptable. That has something to do with it. What you think is good is not purely good.

First of all, I think that having a person in charge of booking for each live music club should be abolished. I know you will say that I am not listening to your personal opinion and that you don't know the reality of the situation. I'm just saying that it would be more interesting if it were done this way. It's just a matter of "it would be more interesting if we did it this way. If they say that's the Japanese way, well, you know. The rent for live music venues is also expensive. Many people don't drink at gigs, which means that bar sales are not expected. But I think it would be more interesting if there was a simple mixture of people. It's fine to have a group of people with similar thoughts, personalities, and hobbies, but if you do it that way all the time, it's not going to work. I think there is a limit to what we can do, and we want to move on to the next thing, to something new. I'm being too critical. Well, this is my personal opinion.

spirit (of the dead)At least once a year. Usually in summer and winter. Once, I didn't come home for about three years, and I knew I was in trouble. I was not like Urashima Taro, but I was so nervous that I was always on the edge of my seat (laughs). For example, when I went to Umeda, Osaka, the scenery around the station and the surrounding area had changed dramatically. I used to hang out there all the time, but now the place I know is like a place I don't know. I was nervous just to buy a ticket. I wondered if I was doing the right thing. Also, it is natural, but when I got on the train, everyone was speaking Japanese, and I could hear it, which made me feel as if I could hear the voices of people's minds that they had not said, which was not very pleasant. I felt that it was not healthy. I knew I had to go home regularly, show my face to my parents, and try not to forget this. Since then, "BO NINGEN" has been able to perform live in Japan, and I am able to return regularly at least once a year, which is good, but at that time I was shocked and impatient (laughs). (Laughs.) After all, no matter how far I go, I am still Japanese, and the longer I stay here, the more deeply I feel that I am Japanese, so in a good way.

spirit (of the dead)I have been living here since I was a teenager, but at first I was just getting used to the new place, starting a band, and making new friends. To put it in a common way, I think everyone who has been here for a long time goes through a period where they get a little bit of a rash. It's like a period of time when you think Japan is nothing. There are many great writers who have been writing in Japan for a long time and have repeatedly fantasized about the West, but when they grew old, they returned to their own Japanese culture instead of European culture. Like Tatsuhiko Shibusawa. I think it's a bit similar. But that's because I can't see Japan objectively, and now I can see what I like and what I don't like about Japan. I can say this in many ways, but when it comes to music or politics, there are parts that I wouldn't have been able to see if I had stayed in Japan for a long time. For example, even teenagers who don't even know what right and left mean often speak out about Japan as being right-wing or left-wing. I remember that I was the same way when I was in Japan. But when I was in London, I didn't see the Great Britain flag in the window of my house, but the flag of England, which is not even the national flag, and when I went to Scotland, there was the Scottish flag. I have often wondered what identity is.

The Japanese country "England" is not that important. Just as people from England, Scotland, Wales and Northern Ireland don't like to call themselves British. Even so, if you walk down the streets of London and see an English flag in a window, no one would say that you are a right-winger. In Japan, however, if you see a street protest truck driving around, you are a right-winger, or if you see the Hinomaru flag flying over your house on the Emperor's birthday, you are a right-winger. I have come to think that Japanese people are too prejudiced. On the other hand, I can see the beauty that Japan has had since ancient times more clearly now that I am here. I can see this by reading Kunio Yanagida and Nobuo Orikuchi, and I think it is also connected to reading Yukio Mishima. I wonder what it means to be Japanese. So, in response to this question, I guess I feel it more strongly every year.

spirit (of the dead)I basically don't think I should meddle in the affairs of others outside my field, and to be honest, I don't know much about Japan since I don't live there. But, yes, I feel that there is a general "loose" mentality. There is no glare. Tokyo is definitely loose, both in terms of the people who express themselves and in general. For example, when I am in a big city like New York or London, as well as Tokyo, I like the more tense mentality. It's vague, but it's just an image or a texture. That's where punk and modern jazz come from. Things that are born out of political backgrounds and other uncertainties and tensions have absolute energy, regardless of whether they are good or bad. But I think it's good that hip-hop still has such a dangerous side in Tokyo and Japan. But in the rest of the scene, it seems like everyone is trying to get along with each other, or else it would not be possible. That depresses me a little. It's not that there's anything wrong with everyone getting along, but I think there's something else that makes both the loose and the not-so-loose sides stand out. I don't think it's the same as trying to make something good together.

I know this is an extreme view, but when I go back to Japan and watch TV at my parents' house, I am already astonished. Is this country okay? I think, "Is this country OK? I don't want my music to be political or ideological, but the main stream in Japan is just too much. I don't want to bring any political statement or ideology into my music, but the mainstream in Japan is just so bad. No subculture, no sound production, no shit. The music is such that you can't even tell the difference between garbage and onigiri (rice balls) from a convenience store. There is no distinction between women and girls, boys and old people, and I personally think that this has stopped the flow of how a certain type of music is produced, performed, and generally made into music or sound. If they all say they saw God or not because of drug overdose, there is still salvation, but they are all plain faced, right? It's dangerous. But therefore, in the scope of just music, there are of course interesting people because they are in Japan, though they are definitely in the minority. But in London and other places in Europe and the United States, as far as I know, there are no such people. I think there are far more people in Japan, now and in the past, who are wondering why they even set their eyes on such a place. I think that's interesting. I think it's because the mix of authentic/non-authentic in music is so distorted. Japanese free jazz is a good example. I tend to lean more toward the dark side, but I think there are still a lot of weird people and music now and then. It's wonderful, isn't it?

spirit (of the dead)I don't think it is. At least in Japan. That is a problem in Japan. For example, Keiji Haino, when he played at Clapton's Church in Hackney with his main band, "The Lost", about 700 people came. But in Japan, a live house with a capacity of about 100 people would not sell out. Even if we had the same lineup, it would not sell out. So, to put it bluntly, what music offers to society has become just a matter of whether it is for consumption or not in Japan. There is very little awareness that music is part of the general art scene. Film, painting, fashion, architecture, or anything else, music is the only thing that has diverged. It is tremendous, and it is only underground or in the sky. And the government doesn't subsidize it. It's a shame. So, those people will be more active in Europe and the U.S., and there are many people who will leave Japan. It is a waste, limiting the activities in their own country. It is a strange thing to have your own language and be able to communicate in your own language (not just Japanese, just to be sure), but to be highly rated in a place where you can't. At the same time, it makes me proud, and it is encouraging for me, really.

spirit (of the dead)What comes to mind quickly, and I think this is true not only in London but in the West, is flexibility. I'm talking about thinking. It is easy for something interesting to happen, something that sounds interesting. It doesn't end with an idea. It doesn't end with an idea. It actually happens, without meetings, meetings, and other slow and cumbersome things that are sometimes required. If it doesn't work, it's okay if it doesn't work, and if it's good, it's good. I feel that everyone is hungry for something interesting. Something exciting. They are straight to the point. Whether they are musicians, filmmakers, fashion designers, or people in any other field. If they think our works and live performances are good, and we think they are good, too, collaboration happens very easily, regardless of whether we are a so-called rock band, a fashion artist, or an artist, It's like they react to each other. I think that kind of spontaneity is unique to this side of the world. What we think is good is good. There is no need to think about what it is, just do it because it is good. It is not about the profit, but about the benefit to my expression and activities, or the improvement of myself. It is very smooth to do something because it looks interesting. From my experience. For example, if a group looks like this, plays this kind of music, is formed in Japan, and is based in Tokyo, it would still be categorized as if they have been active in the "UFO club" or Koenji area, not to speak ill of them, but they would still be categorized as if they have been active in that area for a long time.

If you ask me what phrase I dislike most in the Japanese language, which is a wonderful language full of subtleties and nuances, my immediate answer would be "perverted psyche. I swear again and again, this is not a dig at the Koenji area. I like UFO club, I've seen many great shows there, and there are many good bands. However, I have to say that the "perverted psychedelic" band appeared in an ad for a McQ campaign and collaborated with Juergen Teller. That kind of crossover doesn't happen in Japan. Of course, there is a perception that we are taking the best of both worlds, but that can't be helped. We are essentially a London band, since we came here by chance and started our band here. Of course I am aware that I am benefiting from that. So collaborations are fun and inspiring, and they are a different kind of stimulation from playing live, which is interesting and gratifying. Also, just in terms of music, I think it's healthier to do it here. To some extent, we are established here, but if we had started in Japan, I don't think we would have lasted as long as we have. If we had started in Japan, we would have had to first be booked by live houses, have a quota, and have to sell a certain number of tickets. That's what I mean when I say I want the best of both worlds, and that's not the case in London. A band you put together yesterday may be unknown, but if you play a show in a pub and people turn up and the bar makes some money, you can get £50 for the first show you played that day. It's not a lot of money, but it's a motivating factor, and it makes you think, "With this, I can drink today," or for some people, "I can buy drugs. The beauty of this way is that it leads to something positive. Of course, that's not the only reason, but after 13 years here, it's almost home, and it's more natural than staying here. So there are many things. I like it here.

spirit (of the dead)Of course, there are many reasons for this, but most of them are due to the fact that I am Japanese. As for the laxity of the transportation system, with no timetable and delays being the norm, I think it's okay. I can use it as an excuse for being late (laughs). (Laughs.) The postal service is terrible. When you buy equipment from the U.S. or other countries that are not available in the U.K., it is not surprising that it takes a long time, but it is also common for the equipment to not arrive. For those who live in Japan, it may be a matter of course, but there is a missed delivery note in the package, with the driver's number written on it, so even if you don't receive the package by a narrow margin, you can call the number back and it will be returned. Also, the fact that you can specify the time of delivery is a shock to me. I am shocked that such a service exists. If I'm not here, some delivery guys leave the package at the door, or leave it at the neighbor's house, or something like that. In other words, well, the person is too lazy to work. The vocabulary of customer service is supposed to be English. Funny thing.

spirit (of the dead)I think it's the people. That unique expression "reading the air" is also found in English, but it has a completely different meaning. The way you perceive silence and pauses is also unique. I also think the mentality of respecting others before oneself is beautiful. That kind of subtlety, or subtleties that cannot be verbalized or translated, and the sense of beauty is different from that of Western countries or other Asian countries in the Far East. Every time I return to Japan, I am amazed. Also, as I'm sure everyone will say, the food and the quality of the ingredients are of a very high level. This is just extraordinary. The balance between quality, price, and convenience in eating out has collapsed, because ramen and beef bowl restaurants that are open 24 hours a day, cost less than 1,000 yen, and are commonplace in every town and train station are not commonplace here. I still can't help wailing with joy every time I return home.

spirit (of the dead)To be full of prejudice. They do not let people learn about history. Also, it's not like being a frog in a well and not knowing the ocean, but England and Japan are both island countries, and England has many people from other countries living there, while Japan has an unusually strong sense of being a single ethnic group. The Greater East Asia Co-prosperity Sphere is still alive. With the exception of the elderly, I was quite shocked to hear that today's young people, almost without reason, dislike China and Korea, and those who are close to them. In terms of location alone, Japan, China, and Korea are like England and France or Germany. I am sure that this baseless and abnormal pride is due to the influence of education, postwar American guidance, and the Cold War, but I think it is unacceptable. It's natural for old people to be conservative, but young people are not conscious of it. I'm one of those people who don't care, but a lot of young people don't think about how it will affect them if this happens and that happens. I think it's a bit dangerous for them to be indifferent to their country's leaders and political parties, even though these are issues that affect their own activities and lives. No matter how crazy the kids here are, how much debauchery they engage in, how absurd their lifestyles are, they are all very firm on this point. They are aware that this is about them. Every time I go back to Japan, I wonder if it is safe there. It's too much of a chill factor. Of course, doing what you love is good and important, but is that enough? I don't think that's enough. I don't mean that they should be politically active or support a certain political party, but it is a part of their consciousness.

spirit (of the dead)My first impression was that this country is also so stupid. In a country that has the most international city in Europe, London. Isn't that the old way of being, or the potential influence of the British Empire? It's one of the countries that wanted to be the best at what they do. Young Londoners were about 20% to leave and 80% to stay. I think Trump's America is the same in that sense. Trump was outnumbered in big cities like New York, but inland he was almost overwhelmingly victorious. And for rural white people who have never been involved with foreigners or foreign cultures, it probably doesn't matter. It doesn't matter what the world is like, how misogynist or racist he is, it doesn't matter, because they have their own lives and they have their own reality. As long as they are patriotic, that's all that matters. I don't usually make statements about politics at all. When I thought about that, at first I thought it was stupid, but then I realized that it's not that simple in general. It's not that simple, though, since there are many aspects of economic effects and immigration policy. Of course, it is a lamentable situation, but 70 years ago, they said their country was the best, and even started a war. It may be that we are going through such a period again. I am not that affected by Brexit, so I am objective in some ways. I've needed a visa to live in this country for 13 years now, and I'm basically on the sidelines.

Around me, most of my friends are musicians, designers, or artists, so I guess I'm keeping in mind that I'll be working away from UK. And things that have never been a problem before may suddenly not be possible. It's not just the European kids, but the British kids too, because if a kid who goes to UAL has an internship for a year and wants to do it in Paris or Antwerp, they're going to need a visa. I wouldn't have expected that. But, well, I've managed somehow, and it's like I'm standing in the same field, so it's easy to lament, but I think it's up to everyone to take action against it, or to enjoy it and figure out what you can do in the midst of it. It is important to do what you can do. But that doesn't last forever, and it may end while I'm still alive. There are things that I have to do, and how can I serve myself to what is given to me in a situation where I don't know what is there. I guess that's all.

spirit (of the dead)To be frank, I don't know much about myself, but for better or worse, people say I'm an egoist. I've been called an egoist, for better or worse. That probably won't change, and even if I wanted to, I wouldn't. So I don't think I need to change anymore. I think that's why I don't feel the need to change anymore. As I get older, it becomes more and more difficult to change things, and I think that no matter what happens, I will always be myself at the end of the day, and that is something I will never compromise. Whether that produces good or bad results is ultimately my own decision. So, to put it bluntly, I'm probably a jerk. But, oddly enough, I'm okay with that. People change, of course, and I think there are things that change when you reach the age of 4 or 50, and whether the change is favorable or not is not important. However, I am wondering now if that part will remain the same. Also, I think I have simply become more flexible since coming here. I meet people from many different countries when I am in London. This is true in friendship and also in love. I think I have become more flexible, but I don't think my ego, or my "I" attitude will change in the future. Whether it is good or bad, I may lose friends because of it, I may hurt someone, or on the other hand, I may stay in a relationship with someone. But I don't think I would have thought about that if I had stayed in Japan. Japan is a country of assimilation. Of course, not everyone is like that, but in general, it is best to be a balancer in society.

But, as a matter of course, each person has a different way of being, and every relationship, whether it is a lover relationship or a friendship, is unique to that person. So I'm not pessimistic or optimistic about how I've changed and how I haven't changed, and how I should be. It is an accumulation, and what I can do now and what I am now will differ. I don't know what I will be when I reach 40, and I don't know what I will be when I reach 50. So, for example, I don't really believe in this kind of thing at my age, which is also common in Japan. I don't really believe that. The easy way to understand this is to say, "It's time for you to calm down. You're too old for this. I know people will say this to me, and in fact I have heard it several times, but I don't believe it. I don't believe in it, even if it is wrong as a human being. Except for the most extreme human taboos, such as murder, cannibalism, incest, robbery, etc., there is no such thing as "this is OK, this is not OK, this is not OK, this should be done this way, this should not be done that way," limited only by age and background. I think it's nonsense to say that you can do this and you can't do that, or you should do this and you shouldn't do that. In London, I came to think this way, and it has changed. You have succeeded in escaping from the "I can't think this way" situation in Japan. It's a good point. It doesn't matter if you think so, and in fact it is.

spirit (of the dead)I feel like I've been over here forever. It's just a rough feeling. I can't imagine myself being somewhere else right now, so I guess I am and should be. I don't really think about my personal prospects. We all age equally. I have always thought that there is more to life than simply having a past, a present, and a future and moving forward in one direction. It is the same with music. I believe that time never stops, but it is not necessarily in one direction. Even if that is true. The more we stick to the present, the more we are ruminating on the past, and even that point in time is in the future. I don't think it's a constant progression. It can stop. If I were to live to be about 80 years old, I would like to live my life thinking that what I am facing is definitely for the future, but it is definitely not a one-way street. Otherwise, I will have a lot of regrets. I want to go back. I want to turn around. It's Orpheus, exactly. Orpheusian projection. If you just think of the real world in isolation because it's like this, it's too tasteless. If you just live your life thinking, "Is it really true that there is a past, a present, and a future? I think it would make a difference if we just live our lives with the thought, "Is this really true? It's a conceptual thing. Remembering is just an act of remembering. It is a very nostalgic act, like when you have a broken heart or have lost someone. It's an act we all do, but we just don't realize it. That means they at least want to go back, right? It's like, you have to absolutely confront the contradiction. Everyone does it. To regret, to forgive, to remind each other. For example, making plans for next week. People tend to lose the distinction between what they already know and what they don't know, including themselves. It is very difficult to find out what the current point is, and I have concluded that I will probably end up not being able to find it (laughs).

However, I think I am always playing music with the question in my mind, "Is time really moving only toward the future? Music and movies are easy to understand. Time continues without interruption. With music, a song is usually over in about 3-5 minutes, except for the most extreme cases. A movie can be two hours long. But what is going on in that time is not necessarily straight. It doesn't go from one point to A, but to B and C. It's simple, but it's the same thing that happens in real human life. It's simple, but I just think that even in the actual life of a human being, it's possible to have that kind of thinking. Also, the way we perceive things like speed. Even if the BPM is slow, there are ways to make it feel fast. The same goes for heaviness. If I say that it is heavy to do something heavy by tuning everything down, it is not the only way to do it. It is a matter of the context before and after, and the relationship with the other instruments also comes into play. And the person making the music has a different feel. The act of creating, performing, and listening to the same five minutes of music is a different five minutes of completely different activity." There is no such thing as "now," to be sure, but you have to set it yourself to make it complete. It's almost like a decision, but you have to put your mind to it. If I start thinking about whether it's right or wrong, I can't do anything. Even if I lose something as a result, it is only the result of that one thing I have done. If there is still something to be gained, I'll live with that. I don't think there is a right answer for the future, but at least it is important to know what you want. At least, I know what I want. I like music. So, I want to be able to be more deeply involved with myself, but as long as my body can move, I will make albums, tour, meet people, be loved, be loved, be betrayed, be betrayed, and live. I'm getting drunk much better.

spirit (of the dead)If you want to, I think you should leave. It doesn't matter if you are in London, New York, Paris, or anywhere else. Berlin, Sydney, Moscow, Buenos Aires, Cape Town, Beijing, Kosovo, Greenland, Mumbai. I think you should go wherever you feel like going. I know that everyone has many things they wanted to do when they were teenagers, but if you are in a situation where it is physically possible, I think you should definitely go there. I think you should definitely go if you are in a situation where you are physically able to do so. I didn't know what would happen if I went, and I didn't think it would happen either. I didn't think I would be in London this long or that I would become a musician. I think the best thing to do is to take action, because you never know. If you want to learn something, you should choose a place where you can learn. If you don't have anything in particular like me, but you vaguely want to go somewhere, you should go somewhere anyway. You really won't know unless you go. You'll never know if you don't go. If you don't go, you'll never know, but if you go, you'll know something, and that something is certain. You might not like it, you might like it. I don't think it's ever going to be what you expect. My impression of the city and the way I relate to it changes over time. For example, the London feature in the magazine is not a lie, but it is not realistic. In interviews with foreign indie bands, words like cocaine and heroin are often used, but as a normal Japanese high school student reading those kinds of magazines, there was no connection at all, only drugs. I didn't know what it was, and I didn't know what it could do. It is difficult to have an experience with only letters. Even a single letter is different from what we call a party here in Japan and what we call a party in Japan. So even in this interview, I want to leave room for the reader to think, "What is this guy talking about? I want to leave room for the reader to think, "I don't understand what this guy is talking about. In fact, he was drunk when he said this. If you want to study abroad, go there and see what it's like. That's about it (laughs). (Laughs.) There is only so much I can tell them by talking to them in person. I don't even think of it as a reference, but people tend to forget that holding on to what they don't understand is part of life. If people think that there are people like this living and playing music in London, that's fine.