-As Usual When I Interview MALICE MIZER My Mind Starts To Dry Up A Bit (laughs).

Zapping CD Track 24: Interview!

Gackt

"This time, the PV is based on the story of the song’s world."

15:58 - Gackt makes a magnificent entrance through the grasslands.

17:44 - Gackt gives direction to Jasmine, saying, "Relax and entrust your heart and body to me."

18:16 - A playful scene during filming for the engine shot.

"This song was originally created last year when I went to France to shoot a video. I was zoning out on top of a hill when the world of 'Le ciel' suddenly came to me. The version in the album and this version aren’t about which is correct; I think people will feel our emotions and the expanded worldview in this single. And for this promotional video, we wanted to portray the song’s world as a story. We spent a huge amount of time on the storyboard, and I think it changed about 14 or 15 times. By the way, Nagano is really a wonderful place, right? I’m having fun, and it’s been relaxing to film here."

17:03 - During a shoot for this magazine, Gackt asks, "Is this photo an extension of the PV or something separate?" showing his attention to detail.

16:04 - After checking the eyeline, they started the test. Five test takes, two main takes, and it was a wrap.

We enjoyed nature, including the various bird calls, but almost all of the staff were bitten by insects…

MALICE MIZER

Day 2

6:30 - 18:30 Filming in a pasture in Nagano was purely magical!

At 6:30 AM, the staff gathered at a certain location in Tokyo and headed to a ranch in Nagano. The scene was shot in a pasture where ordinary people are not allowed. That day, it was just Gackt and Jasmine appearing again. The two blended so beautifully into the landscape that it seemed almost surreal. On this day, they shot 20 scenes and 48 takes. After each take, they checked the monitor and discussed the subtle expressions and movements with director Muto. The attention to detail and the commitment to refining every shot was a testament to their passion as creators.

At 16:25, Gackt continued holding Jasmine, smiling wryly as he said, "I'm starting to sweat."

Director Hiroyuki Muto

"There's no one more interesting than them."

We held three full meetings with everyone involved. While respecting the vision of Gackt, who wrote the lyrics, we discussed everything as a team and created the storyboard. The challenge was to maintain the unity of the group while highlighting each individual member. Their concept is always clear, so it’s fun to shoot each time.

This is the third time that director Muto, who usually works in television drama, has filmed a PV for MALICE MIZER.

A completely new arrangement of "Le ciel Beyond the Blank Space"

Since their major debut in July of last year, MALICE MIZER has built a world of "merveilles" (which means "wonders"). To conclude the concept of this album, they’ve released this song. While the song was already included in the album "merveilles," this single features a completely new arrangement, making it even more dramatic. The track begins with a bass drum beat (with each beat at a different pitch) and has been meticulously crafted. From the beginning to its shocking ending, it’s a song meant to be played at high volume. (Released by Nippon Columbia CODA-16178, priced at 1,400 yen, released on 9/30.)

A studio where the entire set was completely rearranged in one night.

Yu-ki’s prop was a staff adorned with a crystal ball.

Day 4

9:00 - 22:00 Finally, the entire cast appeared, and it was simply breathtaking!

On the final day, the filming proceeded with Jasmine, followed by Kami. Initially, Kami was unsure of how to move, but gradually, his poses came together, and he finished within two hours. Then, at 16:26, the entire cast appeared. This was the only scene in the video where all the members appeared together, and the tension of the final scene made everyone assume it would take a long time to get an OK take (meaning the end time was undetermined). Surprisingly, though, it was completed in about 40 minutes with just six takes. Afterward, Gackt was filmed alone, marking the end of all shooting.

→ After filming, Kami took Jasmine out for a stroll in this very outfit to a convenience store.

13th Day, 20:56 - Yu-ki checking the oboe fingerings.

Interview!

Yu-ki

Even the other members were surprised.

"At 20:44 on the 13th, I was instructed by Director Muto to take on the image of a 'bad fairy.'"

"I’m trying to surprise everyone."

"It’s not just an ordinary promotional video. I want to capture the world of the song in a concrete way through the visuals, so I’m putting in a lot of effort. Regarding the costumes, this time, for the first time, we used 'white' as a theme, and each of us brought in our own ideas, trying to surprise even the other members. I think everyone had that feeling. I made my own headpiece, but I didn’t have any initial image for the makeup. As I was drawing, it just ended up like this (laughs)."

→ At 20:39 on the 13th, he checks his position during a makeup touch-up.

14th Day, 19:07 - Only two scenes left!

At 1:27 on the 14th, the director instructed, "Don’t forget your affection for her."

Yu-ki’s look was highly praised among the staff. On the 3rd day, he shot three scenes with five takes.

14th Day, 13:54 - Kami shows off a daring move, playing the sitar with a bow.

This song has the most emotion packed into the interlude.

Gackt appeared at 16:26 on the 14th day. The scene of breaking the flower was symbolic.

→ Even just standing still, Kami looks like a picture.

"This was the hardest shoot for me. There was so little movement (laughs). During 'Gekka no Yasoukyoku,' there was quite a bit of movement. Somehow, the movements feel forced. As for 'Le ciel Beyond the Blank Space,' I focused on the pacing, especially in the interlude. We mixed four types of drums, and for me, that part is packed with the most emotion. Some sounds don’t even seem like they’re from drums. In this interlude, I wanted it to feel like the emotions of all five members were clashing. Time off? None (decisively). We’re destined to keep running (laughs)."

Kami teaching Jasmine how to play the sitar.

Filming completed! Time for a commemorative photo!!

After the unexpectedly quick conclusion of the full-cast scene, at 18:38, the staff joined in, and they took a commemorative photo. Some covered their faces, and some turned their backs, but in any case, great job, everyone!

Atra Winter 2007 // Klaha

As you can tell from his profile Atra kun is still very much a child. Everything he sees is new to him and he’s full of curiosity thinking everything is his toy. If you're careless and leave things on a table or somewhere within his reach, by the time you realize it, they’ll be hidden somewhere. For example, under the sofa or the bed... You might think you've completely lost something, only to find it one day by chance under the sofa or bed. Such troublesome events happen often. But it’s this mischievous and lively personality that makes him so charming.

However, the thing that's troubling me the most with Atra right now is his eating habits. The problem is he won’t eat unless I’m right beside him constantly stirring his food with my fingers. And in the end unless i place the remaining small amount of food in my palm and feed him by hand he won’t finish his meal.

The root cause is of course that I’ve spoiled him too much. But on days when I have to leave early for a photoshoot or something it’s difficult to always be there to feed him. Not to mention, he eats slowly and tends to eat his meal in several sittings.

So about his eating habits... By the way when Atra kun is in such a troublesome state if I try to leave without indulging him, he will inevitably start making strange, incomprehensible noises like 'Oh, no!!' while jumping at me in desperation.

Of course he also acts spoiled at times. For example, when I'm getting ready to leave, Atra will start pouncing on me as if to say, 'Don’t leave me!' He makes such cute sounds that I can’t help but think, 'How adorable!' It's always a cycle of him calling for me when he wants to eat and us playing chase.

When I can’t help but follow him, he’ll suddenly look back as if to say, 'Are you coming?' Sometimes we swap roles and I have to chase him while he pretends to run away and hide behind doors or other places. We play like this, almost as if we were prince and servant, with him always making me follow him around the house.

Then, when he finally gets sleepy and starts to doze off, he lets out a small, happy squeal, and somehow, all my tiredness disappears. As if by magic, I feel refreshed, as though his presence alone is enough to heal me.

Talking about Atra kun makes me feel like a total doting parent. There's so much more I want to share about him, but I’ll stop here for now. I’ll tell more stories about Atra kun in this section later. It might be boring for people who don’t like animals, but... well. Next time I plan to go somewhere nice. Where that will be, you’ll have to wait and see!

...when I start talking about Atra kun i feel like a total doting parent. There’s still so much more I want to say, but I think I’ll wrap it up here for now. I’d like to share more stories about Atra kun in this section later. It might be boring for people who don’t like animals, though...

Now then, I plan to go somewhere nice next time. Where that will be, you’ll have to wait and see!

MALICE MIZER LIVE merveilles The End and Fate in NIPPON BUDOKAN 1998.4.1

Photograph: Hiroyuki Yoshihama

Report: Aya Yokomori

I had heard that Malice Mizer’s live performances were amazing. I had also seen the video recording of their live show at Ikenoya Public Hall on April 1, 1997.

But still, nothing could have prepared me for what I witnessed at their Budokan live show. It far exceeded anything I had imagined based on prior knowledge.

The moment I stepped into Budokan, my eyes widened in shock. The stage set was like a vast, two-story palace chamber, painted in pristine white. And to top it off, classical music was playing throughout the venue.

Where am I?!

That’s how I felt.

Everywhere I looked, fans were dressed in Malice Mizer cosplay, their faces painted with elaborate makeup. At exactly 7:18 PM, the lights dimmed, and the palace set was illuminated, making it look even more like a real mansion.

That alone was enough to make my heart race—but then, the way they made their entrance took it to another level. They rose dramatically onto the stage.

So cool!!

The extravagant, theatrical entrance sent a rush of adrenaline through me. As if that weren’t enough, the performance opened with real violinists playing live on stage. The pure sound of the strings filled the air, and the audience gasped in admiration.

Throughout the show, the visuals were breathtaking—images of Malice Mizer’s aesthetic world were projected onto the white walls of the stage, red and blue lights flashed, confetti flew through the air…

In "Kioku to Kage", the lighting shifted to a serene turquoise blue, transforming the atmosphere from one moment to the next. The power of the stage, the elaborate set, and the overall production were overwhelming.

Gackt’s performance was mesmerizing. At times, he contorted his face in anguish, clutching his head. Other times, he seemed to pray, as if offering his soul to the divine. He poured his entire being into his vocals, drawing the audience into his world. I was completely captivated.

And then, Gackt treated the audience to his signature piano solo, filling the vast Budokan with his hauntingly beautiful sound… At one point, the sound of Gackt’s piano filled the air with a heartbreaking melody.

That sound… it felt as if I were gazing out of a window into a deep, endless ocean. I don’t know why, but a scene from the movie Titanic suddenly came to mind— the image of a beautiful noblewoman’s lifeless body drifting underwater.

Then, as Kami’s drumming kicked in, the intensity of the performance escalated. But what makes Malice Mizer truly incredible is that their appeal goes beyond just gothic aesthetics and dramatic beauty. As the band switched into silver-themed outfits, the mood shifted completely.

They performed upbeat songs like Je te veux and Shûto Uwuburu, bringing a playful, almost pop-like energy to the stage. Mana, of all things, was running around the stage clutching a white teddy bear.

And then, Gackt, who had been so serious just moments before, suddenly transformed into a comedic character! In the first half of the show, he had said something profound:

"This stage may become a place that connects with your hearts." Yet later, dressed in his silver outfit, he was joking around: "Man, this outfit is seriously hot! I'm sweating like crazy!"

Then he went off on a completely bizarre tangent, he started talking about a lonely cat that wouldn’t cuddle with him.

"I thought, 'Fine, be that way! I won’t pet you anymore!'"

But then, the cat suddenly climbed onto his stomach, and he couldn’t resist exclaiming, "Ahh, it’s so cute! I love it!!"

The audience was in hysterics. Then, the atmosphere shifted again. The next performance had a distinctly gypsy-inspired rhythm, and Mana and Kozi focused on an intense theatrical performance.

They captured women dressed in white and brown, forced them into chairs, and enacted a scene that was almost chilling. The sparks from the stage effects were flying everywhere—it was surreal to witness.

After that, the band members reappeared in black, creating a completely different mood. The dramatic, intense performance that followed was mind-blowing. The sound, the movements—it felt like the entire stage was engulfed in a frenzy.

By the final moments, the entire band had gone wild. Kami threw his cymbals into the air. The bassist swung his instrument around so wildly that you could hear it colliding with the stage. The guitarist sent his guitar flying. The stage was pure chaos.

Then, a wave of "Encore!" chants erupted from the audience. Some fans even began clapping in rhythm, trying to start an encore call, but their voices were drowned out by the sheer excitement and emotion filling the venue.

That’s the power of Malice Mizer.

They don’t just put on a show—they pull raw emotion from the audience. One moment, you’re mesmerized by breathtaking beauty. The next, you’re laughing. Then, you’re in tears.

Every single emotion is drawn out and experienced through their performance. By the end, my heart was shaken to its core. I can’t even begin to describe the final scene.

All I can say is… when it ended, it truly felt like my soul had been carried away.

II Circo Strano booklet, 1998

I remember someone saying in the formus that Il Circo Strano was among the first recordings Malice Mizer ever released with Gackt, prior to "Voyage."

II Circo Strano~奇妙なサーカス〜

II Circo Strano is a 10-minute long track about a strange circus and its bizarre members. It was published as a special issue of Zappy Magazine that came with a CD. You can listen to an excerpt in the last slide.

Zappy Magazine, Novemeber 1998

"Malice Mizer's stage is like a scene from a movie."

Interviewer: Did you have a clear sound concept when you first started Malice Mizer?

MANA: I’ve always loved classical music and European music. So I wanted to create a band that fused the beauty and sorrow of melodies using twin guitars to create a mix of these elements. I wanted to combine a European, misty, beautiful image (in terms of aesthetic beauty) with the speed and energy of rock. As for the vocal lines I aimed to create music that has easy to listen to melodies while still hiding a sense of longing and beauty within them.

MANA: Of course when we perform I don't want people to say we sound like anyone else. I want to create Malice Mizer’s unique new sound. In terms of atmosphere, we are gradually getting closer to that, but right now we’re still in the process of experimenting and trying to carve out our own sound.

Interviewer: You’ve only been active for about half a year but do you feel like your sound is starting to solidify?

KOZI: It’s still in its early stages just starting to take shape.

TETSU: It’s just begun to sprout you could say (laughs).

Interviewer: You mentioned "aesthetic beauty" earlier but does that mean you want to create a sound that’s based on melodies with an emphasis on an aesthetic world?

TETSU: Yes, that’s right. We’re not necessarily a "singing band," but we do want to place importance on the vocals.

MANA: As for the other instruments if you listen closely you’ll hear that we carefully craft the harmonies with the guitars and bass. But when it comes to harmonies the more we think about it, the more ideas come up. We often struggle with figuring out the best place to harmonize and where we should put the emphasis in the song, so we end up debating quite a bit.

Interviewer: The interaction between two guitars is quite challenging, right?

MANA: Exactly. It’s not like heavy metal, where there’s a lead and rhythm guitar, and then when you get to the chorus, you harmonize...

Malice Mizer Vicious 11 // November 1998

Scans done by manieravitium on twitter and @additionalsorrow on tumblr

A Single Album as a Grand Picture Story

Malice Mizer is finally releasing their 1st album “memoire.” This work is a complete concept album. What is the aim they have set?

In the visual rock scene numerous works are continuously released each month. However, the reality is that most bands releasing works in the form of CDs or videos are either affiliated with various labels or rely on the support of those labels to release their works operating under what is known as a sponsored system.

For example take Malice Mizer. They believe that the best way to express themselves is to cultivate their own field so they have been regularly hosting an event called “The Tragic Dinner” at Shinjuku Loft since last November involving themselves and young bands around them in the creation of a new scene. The guitarist MANA who responded to this interview saying: “We want to make Malice Mizer a brand. To do that it’s ideal to create everything by our own power.” This statement left a deep impression on me.

To further expand their field Malice Mizer will finally release their 1st album “memoire” on July 24 through the label they established, Midi:Nette. Moreover they have completed this album as a grand concept work where various landscapes are interwoven based on a single theme.

“Our aim is to evoke the sadness that lurks deep within humanity through our music. To achieve this, we established the concept of ‘nostalgic memories of the past’ as the basic theme of the album.”

Recently more indie bands have started to create concept albums. However in their case the total story across the six tracks is obvious and each track contains various situations, settings, and devices. For example, just considering the introduction of the album:

“In the first track, a piano piece, the same phrase is repeated over and over. The aim here is to have a repetitive phrase that resembles going round in a spiral staircase, serving as an introduction to the album's story, indicating that the journey into past memories is beginning.”

As mentioned earlier all six tracks included this time are crafted into a story as a single narrative. Moreover, “Each track establishes various scenes of memories from different countries, and to clearly express each member's image, each member plays the protagonist of the story for each song, reflecting it visually in the jacket.” This demonstrates their thorough commitment to concept work.

This is a truly remarkable product, where sound, visuals, and story are all beautifully intertwined into a single narrative.

PROFILE

Malice Mizer consists of five members: TETSU (Vocals), MANA (Guitar), KOZI (Synth), YU-KI (B), and KAMI (Drums). For inquiries regarding “memoire,” contact Midi Nette at 03-3781-6674.

Living

Loving

MALICE MIZER

The Glamorous Curtain Rises on Their Comeback October 10, Shibuya On Air West

This performance became a must see event of the year. Malice Mizer brought pride to the scene weaving stories into their theatrical artistry. Transitioning from tango to chanson and bossa nova they seamlessly integrated diverse genres and theatrical elements captivating the audience. The show began with an avant garde use of programmed music and strobe lights as the five members took the stage in a grand entrance.

In the third act which marked a few beautiful minutes of art, the memory of December 2 from the previous year lingered as Malice Mizer expressed love on stage. Ten months had passed since then, and though Gackt commented, "We play for the history of Malice Mizer," I still found myself unable to let go of this memory.

The new Malice Mizer live experience was exhilarating though it felt bittersweet to some fans who were deeply attached to their past work. As I walked toward the venue, the place already filled with a captivated crowd i felt the emotions building within me.

The second act, too, brought a different energy, with strobe lights flashing and familiar yet transformed melodies emerging. Malice Mizer appeared with a renewed artistic focus. The members, including Gackt, who stood brightly at the center of the stage brought a fresh and refined elegance. The serene sound of the fretless bass played by Yu~ki and Kami’s natural drumming provided a contrast to the usual highly staged performance of Mana and Közi.

When "Seraph" played during the encore Gackt sang with an emotional intensity that made his voice resonate deeply. Through this show a new era for Malice Mizer had undoubtedly begun. Their artistry had evolved, inviting fans into a world rich with passion and poised for continued growth.

(Text by Ichikawa Kazumi)

“There are many things to do when returning to love. While we dive underground and study you all feel various things at home! So when we meet again, please look forward to what MALICE MIZER will be like. I am truly happy to have met you all in this arena!”

“Brise” and then, “au revoir.” The stage was illuminated with blue lighting, creating a beautiful scene. The last number was “ma cherie.” The audience joined in singing the call and response of “Ma Cherie.” KAMI, who had been relentlessly playing the drums, surprisingly engaged with the audience from the stage and at his signal the grand chorus of “Ma Cherie” erupted once again. Silver streamers burst from both sides of the stage and the main performance concluded with a united front of the audience and the five members.

And then the encore. The encore was a grand performance that decorated the finale of this tour. KAMI, YU~KI, KOZI and MANA appeared one after the other, each adorned with large wings. Their gorgeous costumes were worth seeing on their own. And then, at the end, Gackt spread his black wings and descended from above the set. It was breathtaking! The song was “Le ciel,” a single scheduled for release on September 30. Finally, in the center of the stage, Gackt spread his arms and looked up to the heavens, causing the star sphere set high above the stage to shine all at once across the entire width of the hall. Oh! It was truly a star filled sky! The dynamic ending evoked a wave of emotion. I felt like giving a tremendous round of applause to the members as they quietly disappeared from the stage.

The blend of musicality, theatricality, and various elements at different moments is what makes their stage interesting. If not done well, it could easily turn into a jumbled and unmanageable situation, but MALICE MIZER skillfully connected the delicate pieces, showing a unique space. And what they will show us next is completely unpredictable. That’s why you absolutely want to see what comes next. Yes, MALICE MIZER is quite dangerous.

STYLE MALICE MIZER

The act of "expression" is not something exclusive to a specialized field. For artists and creators involved in music if we were to put it simply, it is a means of offering hints and proposals that are deeply rooted in one’s personal sensibilities.

This series serves as a method to refine and cultivate those sensibilities in other words, it is a means of expression itself. Life itself is a style.

---------------------

Photography = Yohsuke Komatsu (印), Saori Tsuji (◇印)

Featuring MALICE MIZER

Guest = MALICE MIZER

Text by Kazumi Kanoh

Composition = Kazumi Kanoh

Photographs by Yohsuke Komatsu, Saori Tsuji

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ADDITIONAL SORROW

At first glance with their extravagant costumes and makeup, they may appear to be a theatrical troupe. At their live performance at Nippon Seinenkan in January of this year the stage was set in a medieval European aesthetic, reminiscent of a scene from a play.

The performance they delivered far exceeded the confines of a traditional rock band. With a spectacle that was breathtakingly opulent, MALICE MIZER has now drawn attention from various fields.

What do they think?

Where are they headed?

While retracing their past and present, we explore the "STYLE" that is uniquely theirs.

[ORIGIN]

Mana: "MALICE MIZER was formed in August 1992, with Kozi and me at the core. From the very beginning our concept was based on an image of medieval Europe. Nowadays we’ve started incorporating more pop elements but back then, we were fully immersed in Baroque and Gothic influences. We also incorporated a significant amount of classical music elements."

Közi: "At first there were no French influences like there are now. At that time there weren’t many bands focusing on twin guitar arrangements, so we wanted to feature guitar driven music."

Mana: "All of our songs were dark in tone."

Kami: "But even back then, we experimented a lot with unexpected elements."

Mana: "Our vocalist and drummer were different back then as well. In May 1993, Kami joined, and from that point on, we started playing more live shows. At that time, we didn’t have the money to advertise so the only way for people to learn about us was through live performances. So we decided to perform wherever we could. At that time, our concept was still very medieval Europe."

Kami: "We were already doing a lot with the stage back when I joined."

Közi: "We’d incorporate something special into our openings. We never made a typical rock band entrance."

Mana: "Back then, everyone was playing their instruments for the entire set, so the opening was the only moment we had to do something unique. But that was also the most exciting moment, so we wanted to make an impact right from the start. We started incorporating stage sets after we began doing one man shows but even before that, we tried our best to recreate our envisioned aesthetic in live houses. Before we became a one-man act we often opened for other bands during tours and even though we couldn’t build a full set we still decorated the stage. We wrapped it in vines, gathered tree branches from the forest, and placed them on stage."

Közi: "Yeah we’d wake up in the morning and start cutting branches (laughs)."

Mana: "Exactly (laughs). We also organized a series of events called "Tragic Banquet", hosted by MALICE MIZER, where bands like PENICILLIN and SIAM SHADE also performed. At the time, many band-led events were happening in Osaka and Yokohama, but we felt like someone needed to take the lead in Tokyo too so we took the initiative (laughs)."

- Fool's Mate 090