We spend our days pursuing things that are always a little further ahead — peace, fulfillment, love, meaning. Maybe we’ll never grasp them completely. But, the act of longing, of continuing to walk toward them, is what gives life its direction and its fire. To me, that’s the essence of living. – INORAN
⩺ ARTIST PROFILE | HERE
⩺ STREAMING | HERE
INORAN — a name etched into the very DNA of Japanese rock. As a guitarist and co-founder of LUNA SEA, he helped forge one of the most influential bands in the visual-kei movement, shaping Japan’s music scene since the late ’80s. Yet his story extends far beyond that legacy. From the beginning, INORAN has never stopped exploring his artistic and personal identity. Since his solo debut in 1997 with Omoi, a daring collaboration with DJ KRUSH that fused Japanese rock with hip hop and trip hop, he has carved out a career defined by movement. So far, INORAN has released 15 solo albums and has gone on countless successful tours. Over nearly three decades, his career has also expanded across multiple creative industries: music, painting, fashion and visual art. In 2010, his international stature was immortalized when Fender honored him as the first Japanese artist ever to receive a signature Jazzmaster guitar, a milestone that underscored his influence both in Japan and on the global stage.
Now, in 2025, INORAN returns with Niraikanai – Rerecorded, a re-imagining of his acclaimed 2007 solo album. Far from nostalgia, this project is about transformation: returning to his roots as a way to leap forward. With long-time collaborators u:zo (bass) and Ryo Yamagata (drums), the album has been reborn through fresh arrangements and renewed energy. In this exclusive interview with VMJ, INORAN speaks with candor and humor about what reignited his desire to revisit this very special album to his heart, the way environment fuels his creativity no matter the industry. He also opens up about identity, finding confidence through connection with others, and about the power of longing as the fire that drives life forward. This is INORAN like never before.
——Hi INORAN, thank you so much for granting me the time to talk about your new release — the revisited version of your solo album Niraikanai. In the press release, it was said that LUNA SEA’s recent album recreation tours pushed you to return to your own roots. Is that correct? And what exactly did you feel during those tours with LUNA SEA?
INORAN: Thank you very much for having me and yes, exactly LUNA SEA’s album recreation tours pushed me to return to my own roots. You know, sometimes life gives you moments where it feels like you’ve leapt back in time, almost like a time-slip. A song, a place, or even just a small memory can suddenly pull you back. At first, you think it’s only about nostalgia, about remembering the good old days. But, what I experienced with LUNA SEA’s album recreation tours was something very different. Yes, of course there was nostalgia, the joy of standing on stage with those songs again, seeing the audience react, feeling that connection. But it wasn’t just about looking back. It actually awakened something new in me. I felt a sense of fresh excitement, an energy I hadn’t expected. It was as if the past was giving me a gift, not only memories, but momentum. I realized then that returning to the past can actually become a way of moving forward. Revisiting those songs didn’t trap me in what was already done; instead, it gave me strength, courage, and inspiration to face what comes next. That was an inspirational discovery. And it made me think: if I could feel this through LUNA SEA, then maybe I should also return to my own roots as a solo artist. That’s what led me back to Niraikanai today (smiles).
——That’s deep, revisiting the past not just to look back, but to use it as a way of moving forward. I like that idea! Niraikanai is your fourth solo album. Why did you choose to revisit this one in particular, and not, for example, your first album? And do you think you might revisit other albums in the future?
INORAN: That’s a good question (smiles)! When I experienced that feeling with LUNA SEA on tour, I asked myself: “If I were to revisit one of my solo albums, which one would it be?” And right away, Niraikanai came to mind. There was no hesitation, no question. The reason is that for years, both fans and staff had told me how special this album was. It was received really well by people. I remember them saying — “It’s one of your best,” “You should do another tour with it.” Those voices stayed with me. I am very receptive to feedback. In a way, the album became special not only because of what it meant to me personally, but because it had been so warmly embraced by others. I never forgot the impression it left on people, and that stayed with me over time. So, when the moment arrived, the answer felt almost instinctive: it had to be Niraikanai. As for the future, who knows? Maybe another album will call me back one day, when the time feels right. For now, my focus is on this release and the upcoming tour. But once the tour is over, depending on how I feel at that moment, I might start to consider revisiting another past work (smiles).
——So, let’s wait and see.
You’ve said before that you’re the type of person who usually doesn’t revisit the past, that you prefer to keep moving forward. But this album carries certain memories and feelings that resurfaced. Did you have a specific memory, or a particular feeling, that made you want to revisit it? I’d like to hear it from your own perspective — not how the album was received, but from your personal experience with it. What did it mean for you personally?
INORAN: Hum, that’s a challenging question. In Japanese, the term niraikanai is a word that carries the meaning of paradise. This album was inspired by the time I spent in Okinawa, where that concept has roots. The environment there left a deep mark on me. Even now, so many scenes come rushing back: the light across the sea, the stillness in the air, the sense of peace all around. The overall atmosphere is very specific. The island has its own rhythm, its own light, almost as if it was insisting on being turned into music. That’s why the album was structured like a single day on the island: the opening track begins in the morning, and by the time you reach the tenth song, night has fallen and you are embraced by the darkness. The whole record became the story of one day in Okinawa.
——It sounds like you are attracted to sea landscapes.
INORAN: Yes, I am – greatly (smiles).
——What do you like about them? The sense of freedom, the beyond, the vast “new” world?
INORAN: Exactly (smiles). The freedom, the nature, a life that aligns with one’s dreams and choices.It sounds like the synopsis of One Piece (everybody bursts into laughter)!
——Yes (laughs)!
Going back to what you were saying, I believe our environment shapes our mindset, our perspective and creativity. The way you describe Okinawa — almost as if it enchanted you and guided the flow of the album — really shows how it became the heart of Niraikanai. You’ve said the feelings behind the songs are unchanged, but that the scenery now has a wider expanse. I find that interesting. How did you decide which elements to stay faithful to, and which ones to reinterpret? Was it a careful decision each time, or more of an instinctive process?
INORAN: Thank you! When you revisit old songs, you suddenly realize how many different paths you could take with them. There’s the temptation to transform them completely — to modernize, to re-arrange, to reinvent. And that can be exciting. But if you go too far with every song, then the album as a whole loses its identity. It stops being that album and becomes something else entirely. For Niraikanai, I knew from the beginning that balance was everything. I wanted to protect the original soul of the record, the emotions and atmosphere I poured into it back in 2007. But, I also wanted to bring my current self into it. My growth, my experience, my present sound. The challenge was to keep the album’s essence intact while allowing my present sensibilities to expand and refresh it. In practice, that meant making different decisions from song to song. Some tracks felt like they were asking for new colors, new textures — maybe a new rhythm, a different arrangement, something that could lift them into the present. Other songs felt complete as they were. For those, I kept them very close to the original. How did I decide? Honestly, it wasn’t a calculation, and it wasn’t technical. It was intuition. Just intuition! I would sit with each piece, listen closely, and ask myself: “Does this song need to evolve?” or “Is it already saying everything it needs to?” I basically let my intuition guide me.
——That’s the best way to create.
You talked about this earlier, but the term niraikanai is often described as a paradise beyond the horizon in Okinawa — a place where gods dwell and where life originates. It’s even close in meaning to nirvana. Is that symbolism personally important to you? And when you chose this album to revisit, did you feel you were also re-approaching that unreachable paradise?
INORAN: : I’m always trying to reach it. For me, niraikanai represents a place of longing — a paradise beyond the horizon, where you feel you should go but know deep down you may never fully arrive. It’s an ideal, a dream, a state of perfection that stays just out of reach. And I think that’s what life is. We spend our days pursuing things that are always a little further ahead — peace, fulfillment, love, meaning. Maybe we never grasp them completely. But that act of longing, of continuing to walk toward them, is what gives life its direction and its fire. To me, that’s the essence of living.
——Yes, humans are motivated not only by goals we can actually achieve quickly, but also by the ideals we may never fully reach. It’s that tension between what we can touch and what remains just out of reach that gives us energy to keep moving forward. The hope…
INORAN: Exactly (smiles). That longing itself is the fuel for life. We don’t live because we can arrive at perfection — we live because the pursuit of it gives us strength, energy and purpose. Niraikanai symbolizes that unreachable perfection for me.
——That’s cool!
You worked again with u:zo (bass) and Ryo Yamagata (drums), whom you’ve described as unshakable members you trust deeply. I find that word really striking. What do they bring to the re-recording that couldn’t have been achieved otherwise? And what do you value most in their musical style?
INORAN: As a solo artist, the foundation is always u:zo on bass and Ryo Yamagata on drums. With u:zo, his bass lines have a freedom and depth that create space for me to move. And with Ryo, it’s his natural sense of rhythm — not just technical rhythm, but something very human and organic, that locks everything together. Does it make sense? Their combination gives the music a pulse that I couldn’t create on my own. When it came to revisiting Niraikanai, it felt natural to do it with them. We already share an unspoken understanding, and that allowed the songs to breathe in a new way while still staying true to the original. What I value most, especially in u:zo, is his freedom. He has this openness in his playing that comes from his international experience. He’s worked abroad, and that perspective gives him a kind of independence and freshness that really inspires me. Ryo, in turn, grounds that freedom with a rhythm that feels alive. Together, they bring balance — freedom and stability, movement and grounding. That’s what makes them irreplaceable for me. To be able to record together again, and soon to bring that chemistry to the stage on tour, is something I’m genuinely excited about. Please look forward to seeing us on tour.
——I can see why you call them unshakable now (smiles).
How have you changed as a man and as an artist since 2007? And how do those changes live inside this new version of Niraikanai?
INORAN: OK, let’s see… Compared to 2007, one of the biggest changes for me has been a stronger awareness that I live together with others. Back then, I may have been more focused only on myself. But now, I feel deeply that life is something you walk through while being supported by friends, by family, by the people around you. That sense of connection has grown much stronger with time. It influences both the way I live and the way I create music. I don’t stand alone; I’m carried by the relationships and the bonds that surround me. And when I make music now, I try to let that awareness come through. I want the people who listen to the album to feel not just my own voice, but the presence of all those invisible connections that make life possible. Revisiting Niraikanai gave me a chance to channel that change to take the same songs, but express them from the perspective of someone who has grown to understand the importance of being supported, and of supporting others.
——That’s beautiful. Nobody actually stands alone. I think people don’t realize enough that the essence of being human is our interdependence. We aren’t separate from the world around us, we are not independent from others. The landscape can shape us, but so can the people we’re connected with.
INORAN: Exactly. That’s what I’ve come to realize with time and that feeling gets stronger and stronger as time passes by.
——In the press release, it is mentioned that for the first single, Determine, you worked with a young female director for the first time. Can you tell us more about that collaboration? I’m curious — was the fact that she was young, and also a woman, something that influenced the result in a special way?
INORAN: Her name is Megumi Iritani. She had actually been part of the other band’s staff on a past tour, SONIC DIVE. At that time, we talked about the latest visual technology, and she was knowledgeable about new it. It made me want to try working together. I didn’t care about her experience, I wanted her eye sensibility on my work. I don’t think the fact that she is a woman was the most decisive factor. But when I saw the finished work, I realized that her perspective brought something I hadn’t seen before, with men I worked with. A kind of beauty and clarity that felt new. That sensitivity definitely shaped the result. A female aesthetic? I can’t say for certain… With Determine, she also paid homage to the original video I had made years ago, but she evolved it further, so it felt connected with the concept of the album. That balance between respect for the past and a fresh reinterpretation really matched what I was trying to do with the album itself. I’m very satisfied with the outcome, and grateful for the collaboration. I want you to see it, let me show it to you.
——Thank you, I like the concept. It’s personal but I think it is about how digital world and nature are opposed, almost fighting each other. And maybe the end tells us to free ourselves from the shackles of digital technology.
INORAN: Yeah, this! I really like your view and interpretation of the video. Thank you for your insight.
——Let’s go back to Niraikanai. This is actually your only album written entirely in Japanese. Was that a conscious decision at the time? And when you use English lyrics, is it more for the sound, or to create a bit of emotional distance in how you express yourself?
INORAN: When I write songs, the lyrics always begin with the melody. Depending on the melody, sometimes Japanese feels natural, and sometimes English fits better. The choice of language is guided by sound and flow. But at that time, around 2007, I had a desire to express myself in Japanese. English, on the other hand, sometimes allows a different distance — a certain sound quality or atmosphere that works well with the music.
——I feel like Japanese has softness and nuances English doesn’t.
You began your solo career in 1997. What was your mindset when you launched it? Was it difficult for you to step aside from LUNA SEA at that time?
INORAN: It feels like such a long time ago now (laughs). When I first began my solo career, the people around me encouraged me to follow your own path and do whatever you want. They would ask: “What is it that you really want to do?”At first, that sounds liberating. But in reality, that kind of freedom can also be daunting. When you’re told you can do anything, the weight of infinite possibilities can become overwhelming. You start asking yourself: “If I had a year with no boundaries, no rules, and complete freedom, what would I truly want to do?” For me, that uncertainty turned into an adventure itself. My solo career became more than just making records; it became a journey of self-discovery. Each album was like holding up a mirror to myself at that moment in time. With every project, I wasn’t only creating music, I was searching inward, asking: “Who am I, really? What do I want to say? What parts of myself are still hidden, waiting to be expressed?” That search hasn’t ended. Even now, after more than two decades, I see my solo work as an ongoing dialogue with myself. It’s not just about freedom; it’s about responsibility — the responsibility to be honest, to take risks, and to keep moving forward, even when the path is uncertain. Each project was both a step forward and a way of searching for myself. As for stepping aside from LUNA SEA, it wasn’t as difficult as people might imagine. Because wherever I go, I’m still myself. I am not playing a character. What grounds me are the constants in my life — the people I love, the ones I want to make happy, and the ones who make me happy. Those relationships, those values, don’t change whether I’m with LUNA SEA or working as a solo artist. Because of that, I’ve always felt safe and strong enough to explore my own path. That sense of stability and continuity gave me the courage and freedom to move forward into my solo career without any fear of losing myself. Wherever I go, I’m still me.
At first, that sounds liberating. But in reality, that kind of freedom can also be daunting. When you’re told you can do anything, the weight of infinite possibilities can become overwhelming. You start asking yourself: “If I had a year with no boundaries, no rules, and complete freedom, what would I truly want to do?” For me, that uncertainty turned into an adventure itself. My solo career became more than just making records; it became a journey of self-discovery. –– INORAN
——That’s very interesting. You are saying that too much freedom is challenging. And that each project was not just music, but also an adventure of self-definition.
INORAN: That’s exactly right (smiles).
——I see (smiles).
You’ve released 15 solo albums so far. Which one was the most challenging for you to make, and why? Was it more about technical difficulty, or the emotional circumstances around it?
INORAN: Two albums that remain especially close to me are Niraikanai and BEAUTIFUL NOW (2015). The album BEAUTIFUL NOW was created in Hawaii, so both albums are tied to the sea. I think the ocean has always had a special meaning for me, its vastness, its sense of freedom, its connection to other worlds. That influence is deeply embedded in those records. Beyond those, the albums that stand out in a very different way are Libertine Dreams (2020), Between The World And Me (2021) and ANY DAY NOW (2021). This trilogy was created during the COVID-19 pandemic. Within two years, I released three albums. At that time, the world seemed to have stopped — but I felt strongly that as a musician, I could not stop. I kept writing, even in isolation, often just alone in my room. Those works were born out of a very unusual period, and because of that, they carry a different kind of weight. They remind me of resilience, of continuing to move, even when everything else seemed frozen. In that sense, they were some of the most challenging, but also the most meaningful, albums I’ve ever made.
——So, you are definitely a sea person (smiles).
INORAN: I guess so (laughs).
——What you said really resonates with me. I like that idea of continuing to move forward, even when everything around you feels frozen. You sound like a very active person.
INORAN: You have to keep moving forward. I am always creating or doing something.
——As a solo artist, you sing; as LUNA SEA’s guitarist, you focus on your instrument. How would you describe yourself in each role? And do you find being the vocalist more fulfilling, since it’s your own voice carrying the song?
INORAN: I think, even now, I’m still searching for myself — both in life and in music. Singing as a solo artist feels like part of that search, almost like I’m still chasing a deeper understanding of who I am through my voice. Playing guitar in LUNA SEA, on the other hand, has always been about contributing to a larger whole. It’s a role I feel very natural in, and it gives me a strong sense of unity with the band. Both roles are challenging in their own ways, but each gives me fulfillment and energy. If you ask whether I’m more confident as a singer or a guitarist, I would say I don’t have that kind of confidence. I wouldn’t describe myself as a confident person. But one thing I do know for sure is that I love music more than anything. That love is what drives me, and I feel lucky to be surrounded by great people to create with. That’s the kind of artist I want to be: someone who may still be searching, but who always creates from love and with people he trusts. Playing the guitar with LUNA SEA and singing solo are both enjoyable. The core of it all is my love of music and gratitude for collaborators.
Even now, I’m still searching for myself — both in life and in music. Singing as a solo artist feels like part of that search, almost like I’m still chasing a deeper understanding of who I am through my voice. –– INORAN
——I’m surprised to hear you say that you don’t have confidence. Because you really do come across as a confident person. That’s another topic, but I’d like to talk about your artistic endeavors outside music as well. You’ve recently begun painting…
INORAN: Thank you… And, yes, painting actually began very naturally for me while I was on tour. For example, when I traveled to Hokkaido or Sendai, I would paint something inspired by each place. On one particular tour, we did 41 shows, and I ended up with 41 paintings — one for every stop. Each piece became a kind of diary entry. It wasn’t only about the concerts themselves. I wanted to capture everything around them: the atmosphere of the city, the landscape, the emotions of that particular day. I thought, “It would be such a waste to let these moments disappear,” so I preserved them through painting, sometimes alongside photographs. My approach is very intuitive. When I stand in front of a canvas, I don’t prepare a detailed plan or sketch. Instead, I ask myself something simple: “What color is today?” Maybe it feels like blue, maybe red, or maybe a mix of shades. Once I choose, I let the brush and my feelings take over. In that sense, painting for me is about responding to the present moment. Right now, I wouldn’t say I have a fixed or defined style. It’s not about technique or creating something perfect. It’s about translating inspiration into form, and allowing the environment to leave its trace. Just like music, painting becomes a way for me to connect with time and place, and to make something invisible, like an emotion or a fleeting atmosphere, visible.
——It sounds like you’re very much inspired by the environment around you — the city you’re in, the day’s atmosphere, the people, even the colors that seem to belong to that moment. I find that really fascinating.
INORAN: The world around us is inspiring, isn’t it?
——It is.
In 2024, you launched your clothing line Four Hydrangea and your online store THE 9 CLOSET S. Do your clothing pieces mainly reflect your own style, or do they also carry stories for other people to wear?
INORAN: My goal is to make cool clothes. No wait! I want to design clothes that make you look… slim (everyone bursts into laughter).
——I wasn’t expecting such candid answer (laughs)!
INORAN: Good (laughs)! Actually, when I started Four Hydrangea, my approach was very simple: I just wanted to make the kind of clothes I myself wanted to wear. Naturally, they reflect my own style. But I also hope they can be shared — that other people can see themselves in these designs too. In music, I’ve always expressed my inner world. Fashion, though, lets me take that expression outward. That shift is exciting to me. My vision isn’t only to create for myself, but to build something larger, a community that connects through fashion style.
——Why the names Four Hydrangea and THE 9 CLOSET S?
INORAN: The names themselves come from my own songs. These words appear in my lyrics — they’re part of my musical world. For me, fashion and music are connected. These terms appear in my 5th album, apocalypse and my 9th album, Dive youth, Sonic dive. And you know, through fashion, I’ve had the chance to meet people working in fashion who inspire me tremendously. Those encounters feed back into my music as well.
——Music and fashion are indeed intertwined.
You often share photos from restaurants on social media. Can you tell us more about that? Do you enjoy cooking yourself, or is it more about the experience of trying new foods? Have dining experiences ever sparked ideas for a song, a design, or even a painting?
INORAN: Sharing restaurant photos is really about the time spent with others. I’m not posting about a quick bowl of soba I eat alone — it’s always about meals shared with people. Those moments are joyful, and I want to preserve them. I use my socials as a record for these moments of connection. I’ve also noticed that when people eat together, they rarely fight. Of course, small disagreements happen, but meals naturally create harmony. In that sense, dining reminds me of concerts. Everyone gather, enjoying a shared experience, and leaving with a sense of connection. That’s why I like to capture and share those moments. As for my tastes, my favorite cuisine will always be Japanese food. It feels like home to me, simple but endlessly deep.
——Throughout our talk, I can really sense how important environment is to you — not only the physical places, but also the people you connect with in those spaces. Whether it’s Okinawa shaping Niraikanai, painting inspired by each city, or even dining together as a way of creating harmony, it all seems connected.
INORAN: Because it is (smiles).
——This interview is coming to an end, so I’d like to ask you about the future. You’ve often compared your artistic goals to climbing mountains. What would that next unclimbed mountain look like for you?
INORAN: If a mountain suddenly appears before me, my instinct is always to climb it — without hesitation. It doesn’t matter how steep, how high, or what lies at the top. What matters is the act of facing it, embracing the challenge, and seeing what it awakens in me. That has always been my approach to both life and art: not to avoid obstacles, but to treat them as opportunities for growth. Right now, the mountain standing before me is Niraikanai -Rerecorded and the tour that follows. This is not just another project — it’s a summit I feel compelled to reach with everything I have. For the audience, I want it to be unforgettable. And for myself, I want it to be a moment that proves once again why I keep creating. Every mountain I climb changes me in some way. And though I never know exactly what waits at the top, I know that the act of climbing — of striving, of giving everything — is what keeps me alive as an artist. That’s the summit I’m focused on now, and I’m ready to give it everything.
If a mountain suddenly appears before me, my instinct is always to climb it — without hesitation. It doesn’t matter how steep, how high, or what lies at the top. What matters is the act of facing it, embracing the challenge, and seeing what it awakens in me. That has always been my approach to both life and art: not to avoid obstacles, but to treat them as opportunities for growth. –– INORAN
——How about climbing another creative mountain — not music, not fashion, not painting, not culinary arts. What other industry would you like to explore?
INORAN: Oh, I see what you mean. Where do you see me adventuring in the future? I’ll take your recommendation (smiles).
——Hum… The movie industry, directing perhaps?
INORAN: Actually, yes (straightens up and smiles). I’m very interested in making documentaries. That’s a field I’d like to explore, and it’s something I’m already preparing for. I can’t reveal too much yet, but it’s something I definitely want to do.
——We’ll be looking forward to that next chapter.
Do you have a message for your international audience?
INORAN: I do! Thank you for your support, even though we’re far apart. I hope my music can close that distance and let you feel me by your side. I’m always grateful. The last time I went to France was more than ten years ago, but I still remember it. I really want to see you all one day.
——Are you aware of how strong your fanbase is overseas?
INORAN: Yes, I’m very aware of that — and I want to say clearly how thankful I am. Music has no borders, and knowing that people around the world connect with my work gives me so much strength. I carry that gratitude with me every time I step on stage. Thank you all, no matter where you are.
——Thank you INORAN for this wonderful time.
INORAN: Thank you! It was a pleasure to chat with you today. Please come see me play. I’d be very happy to see you there.
__________________
Mandah FRÉNOT
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