That level of synchronicity only comes with time and with shared history. It’s one of the most beautiful things about staying in a band for as long as we have. You start to speak a language that only the five of you can fully understand. That’s the biggest evolution I’ve felt. It’s not just skill. It’s trust, flow, and a kind of quiet maturity that can’t be rushed. –– Reo
As lynch. celebrates its 20th anniversary, the band reflects on their evolution and what it means to be in the band. In March, we sat down with the members to discuss their ambitious retake project: a series of re-recorded albums that revisit their past with the skill and perspective they’ve gained over time. The first chapter, GREEDY DEAD SOULS / UNDERNEATH THE SKIN, released in April 2025, saw them return to their earliest works from 2005 — tracks once rough-edged, now re-forged with power and precision. The band spoke then about how their essence has remained intact, even as they’ve matured musically and personally. Now, we meet again for the second chapter: THE AVOIDED SUN / SHADOWS, releasing on September 24th 2025. With it comes not just a new sound, but deeper emotional revelations.
In this conversation, vocalist Hazuki and guitarist Reo open up about more than just music. They talk about what they’ve lost, what they’ve earned, and what keeps them standing after 20 intense years together. From the quiet ache of friendships faded over time to the adrenaline rush of a stage only few will ever know. From Hazuki’s reflections on sacrificing stability for a life without boundaries, to the trembling moment he met his childhood heroes, every answer in this interview is a glimpse behind the curtain of a band that refuses to stop evolving. They also share the excitement behind their upcoming December 28th show at Tokyo Garden Theater (Japan), a performance that could mark the beginning of lynch.’s next era.
——Hi Hazuki and Reo. It’s nice to see you again.
HAZUKI and Reo: Hi, it’s nice to see you again too.
——Let’s dive right into the interview. When you decided to revisit THE AVOIDED SUN and SHADOWS, how did you approach the creative process? Did you begin by listening through the albums in full, or tackle it track by track?
Hazuki: To be honest, we didn’t really start by listening back to the original albums. We just dove right into the process, beginning with the drums. That part was recorded relatively early, back in 2024.
Reo: Yes, exactly. It followed a similar pattern to our previous retake of GREEDY DEAD SOULS and UNDERNEATH THE SKIN. For that project, we worked across an entire year, re-recording close to 47 tracks. Once the drum recordings were done, we shared the data with the rest of the band. Everyone recorded their parts individually, and we wrapped up with the mixing phase.
Hazuki: That said, there were moments where I found myself wondering, “Wait, how did this part go again?” So, I did occasionally go back and reference the originals. But I did this only when really necessary. Overall, we chose not to rely too heavily on the past, and instead focused on reinterpreting the songs with who we are now.
——What made you choose THE AVOIDED SUN and SHADOWS for your latest retake project?
Reo: The key reason is that THE AVOIDED SUN and SHADOWS were originally recorded before Akinori (bass) joined the band. This gave us the opportunity to revisit them as a complete five-member lineup — the way we’re meant to sound now. It’s the same approach we took with GREEDY DEAD SOULS and UNDERNEATH THE SKIN. We wanted to give these songs new life with our current unity and strength.
——I see. Hazuki, in our previous conversation, you mentioned that UNDERNEATH THE SKIN was one of lynch.’s darkest records. Now that you’ve revisited THE AVOIDED SUN and SHADOWS, how would you describe their emotional tone and creative direction in contrast?
Hazuki: That’s right! Compared to UNDERNEATH THE SKIN, which was undeniably steeped in darkness and internal struggle, these two albums feel considerably more open and expansive. They are brighter. They carry a forward-facing energy — not just in sound, but in spirit. That said, THE AVOIDED SUN feels more intense, urgent, almost confrontational. There’s a certain sharpness to it. In contrast, the album SHADOWS feels more atmospheric and ambitious. It’s a record that seems to reach outward, as if searching for something beyond the immediate, a larger emotional or existential scale. There’s a longing embedded in it, a desire for transformation or transcendence, which gives it a broader, almost cinematic quality.
——That’s interesting. You told me that you studied your old shouting style for the previous retakes. How about this time? Any challenges vocally?
Hazuki: Actually, when we originally recorded THE AVOIDED SUN, I really struggled with the screaming parts. My voice would give out, and I often couldn’t achieve what I envisioned. There was this frustrating gap between what I wanted to express and what I could physically deliver. But now, with study, I can approach all the songs with much more ease, even the most intense ones. The recording sessions, this time, were actually fun for me. Back then, I couldn’t fully control my voice, especially when it came to tone or texture. But now I’m able to add subtle nuances and shape the emotion much more precisely. I think these retakes gave me the chance to express the songs in a way that’s both technically stronger and emotionally richer than before.
——So, you realized how much better you became?
Hazuki: Can I really say that (laughs)? During the first retake project, revisiting early vocal styles was physically a bit demanding, especially the raw shout style. I had to re-learn or study those old techniques, even though my current voice is more technically refined. But now it’s somewhat easy. It’s definitely fun. I feel like I have gained tremendous control over my voice.
——How about you, Reo — were there moments where your current skills finally allowed you to do what you couldn’t back then? How much do you feel you’ve grown as a musician since those early recordings?
Reo: I think this applies not only to me but to the entire band. When we originally recorded these albums, each of us was still growing. And to be honest, a lot of our focus was just on executing our individual parts the best we could. We didn’t yet have the full sense of ensemble consciousness that develops over time. But years of touring and performing those songs live changed everything. Playing them over and over taught us more than just technique — it taught us to listen deeply to each other. We began to naturally understand one another’s musical habits, timing, and subtle inflections. So, when we approached these retakes, we were no longer just layering parts. We were responding to each other intuitively, almost instinctively. The groove, that collective feeling, came together naturally. And now, even if something feels slightly off in the moment, we can instantly recognize it and adjust in real time. That level of synchronicity only comes with time and with shared history. It’s one of the most beautiful things about staying in a band for as long as we have. You start to speak a language that only the five of you can fully understand. That’s the biggest evolution I’ve felt. It’s not just skill. It’s trust, flow, and a kind of quiet maturity that can’t be rushed.
——That’s an interesting insight. For these rerecorded albums, did you try to preserve the essence of the originals? How did you decide what to change and what to keep?
Hazuki: We were very intentional about preserving the core essence, the spirit of the original recordings. That was important to us. So fundamentally, we didn’t change much at all. The tempos are the same, the song structures are untouched. But of course, we were also aware that simply playing these songs now, with our current selves, after all these years, would inevitably bring a different energy. That’s the paradox: even without changing a thing on paper, the performances are no longer the same. That said, we did make a couple of deliberate changes. One was to the lyrics of I DON’T KNOW WHERE I AM. Originally, the lyrics were in English. But looking back, I felt they didn’t sit naturally in the song. The phrasing didn’t quite fit the melody, and I wasn’t fully comfortable delivering them that way. Partly because English has never been my strong suit. So, I rewrote the lyrics in Japanese. That allowed me to express the meaning more authentically and deliver the emotion with clarity and nuance. We also made a subtle change to the instrumental break in CULTIC MY EXECUTION. It wasn’t anything major, but we felt the new version had a stronger, cooler impact. It felt more in line with how we’d naturally play it today.
——Why was it important for you to switch back to Japanese for I DON’T KNOW WHERE I AM?
Hazuki: At the time, I was really set on doing it in English. I had this strong urge to try. But the reality is, the English lyrics were written with the help from someone else, and I was basically trying to fit them into a melody that wasn’t designed for that kind of phrasing. It felt awkward, like I was forcing the words into place. And because English isn’t my strength, I couldn’t connect with the delivery the way I wanted to. It didn’t feel natural to me. For the rerecording, I decided to write the lyrics myself, in Japanese. That way, I could control the flow, the emotional weight, and the subtle textures of each line. It just made a lot more sense, musically and personally.
——The third disc features a new song, BRINGER. Would you say it acts as a bridge between the old and new lynch.?
Hazuki: That’s an interesting way to look at it, but I wouldn’t necessarily describe it as a bridge in the literal sense. For me, BRINGER feels more like a crystallization of everything lynch. has built over the past 20 years — a kind of essence distilled into a single track. It captures our key strengths: the balance between soaring melodies and raw, aggressive shouts; the tightness of the structure without losing emotional fluidity; and the kind of rhythmic drive that’s both visceral and easy to get swept up in. We also included a section where fans can sing along. It’s something that’s become part of our identity over time. In that sense, I think BRINGER is a celebration of what lynch. is at its core. It doesn’t look back with nostalgia, nor does it force a new direction. It simply shows who we are now, standing on everything we’ve done before.
——That’s interesting. What theme or meaning did you want to convey with this song?
Hazuki: From the beginning, we had one goal: to create a song that is unmistakably lynch. No ambiguity. No second-guessing. A track where, no matter who hears it — longtime fans or first-time listeners — they instantly recognize the DNA of this band. Why now? Well, we have a major live at the end of this year in Tokyo, Garden Theater, a really large venue. That show will be a milestone for us. We wanted to release something that could reach far and wide, that could draw people in and make them curious, make them feel something — a powerful invitation to step into the world of lynch. At the same time, it’s also a kind of gift to those who’ve followed us for years. A track that says: “We’re still here. This is still who we are. And we still have more to give”.
——We’ll talk about that live in a bit.
What kind of emotional or visual impact were you aiming for with the music video?
Hazuki: When we began planning the video for BRINGER, I was very clear with the director: “Make it visually obvious that this is lynch., from the very first frame”. We weren’t interested in abstraction, or subtlety, or reinventing the wheel. No softened edges, no glossy brightness, no symbolic storytelling. Instead, we wanted a video that was direct and powerful, as if we were performing right there in the shadows, surrounded by intensity, weight, and darkness. That’s the world lynch. has always inhabited, and we wanted that identity to come through with absolute clarity. Sometimes, the boldest choice is to stay true to your roots — and to present them without compromise.
——Yes, it’s definitely lynch.!
Apart from the new song, what does this third CD contain?
Reo: In addition to the brand-new track BRINGER, we included songs that hadn’t yet been revisited in our previous re-recording series — tracks from singles that Akinori wasn’t originally part of. That means songs released outside of full albums like THE AVOIDED SUN or SHADOWS. By including these, we were able to fill in the remaining gaps in our discography and give those songs the same updated energy and unity as the rest. Now, with Akinori’s playing and our current lineup, these songs finally feel complete. It feels like they truly belong in lynch.’s present.
——What do you think Akinori brings best to the band?
Reo: Back in the day, Hazuki actually played bass during recording. Akinori brings something entirely different to lynch. His sense of timing, his groove — they have a completely distinct feel. If you ask most people today what they imagine when they think of lynch.‘s sound, especially from our live performances, it’s Akinori’s bass that defines that image. It’s hard to explain in concrete terms, but the truth is: when a member changes, the sound changes — and when the sound of one person shifts, the entire ensemble adjusts. The way we hear each other, the way we interact musically, it all transforms. So, if someone asks me, “What is lynch. now?” — I’d say it’s the lynch. that exists with Akinori’s bass at the core. His presence redefines the band’s foundation in a very real, very organic way.
——It makes perfect sense.
After 20 years, your music speaks to both longtime and new fans. Who do you think this retake album speaks to most?
Hazuki: I think the people who listened to the original versions when they first came out will probably feel the biggest impact. For them, hearing these songs again — reimagined but still faithful — might be quite a surprise, even emotional in a way. At the same time, those who didn’t know our early material might discover something completely new. They might think, “Wow, they had songs like this back then?” and find joy in that discovery. It’s a difficult question when you ask who this album is most for, but if I had to choose… I think it’s especially meaningful for the people who were there at the beginning — those who knew the originals and can now experience the evolution.
Reo: I completely agree with that.
——As artists, I think that there’s always a tension between evolving and staying true to the core. As a band, do you lean more toward change or preservation now?
Hazuki: That’s a deep and very thoughtful question. I believe we’ve always tried to protect and honor our core essence, the emotional and philosophical backbone that defines lynch.. If I think back over the last ten years, starting around GALLOWS, I feel we’ve consistently kept that essence intact while gradually embracing change — layering in new elements without losing sight of who we are. This year in particular, with so many retake projects, we’ve been more in a mode of preservation than transformation, so it’s hard to say where we stand definitively at the moment. But I can say with confidence that BRINGER reflects our essence completely. It was made with that in mind. It was made to express the very soul of lynch.. That said, when I think about what we might create next year, I do feel a quiet desire to explore change a little more. I want to allow ourselves the joy and curiosity of evolution. So, maybe we’re moving toward a phase of experimentation again.
Reo: Interestingly, I don’t think evolution and preservation are necessarily opposites. In fact, I’d say they often go hand in hand. It’s when you stop moving, when you stand still, that you risk losing what’s essential. In that sense, I believe that moving forward is exactly how you protect the essence. And lately, I think we’ve found a really strong balance between the two. Rather than swinging hard in one direction or the other, we’ve been able to honor both sides. We’ve been able to respect our foundation while still allowing ourselves to grow. I think that’s something truly important for a band with as much history as we have.
——I agree, evolution and preservation are necessarily opposites.
If your younger selves heard these retakes, what would they think?
Hazuki: Honestly? I think my younger self would be frustrated, deeply frustrated (laughs). Back then, every time I stepped into the recording booth, I’d wrestle with this overwhelming sense of frustration. Why isn’t this turning out the way I imagined? There was always this inner struggle, a gap between vision and execution. If that version of me were to hear the sound quality and performance level we’ve achieved now, I think he’d be stunned and jealous. He’d probably ask, “How the hell did you pull this off? How did you make it sound so good” — this exact same song I struggled with back then? And he’d be desperate to know, to learn how we got from there to here. That frustration would come from a place of admiration, of course, but also from that youthful hunger to do better.
Reo: I feel exactly the same. That feeling of wanting to play something a certain way but not yet being able to — that frustration — was something we carried with us constantly in those early years. Now, with this retake album, we’ve finally reached the level we were always aiming for. These songs, in their current form, reflect what we truly wanted to express back then. So yes, I think our younger selves would feel the sting of This is what I wanted to make all along. It’s not just pride or nostalgia, it’s the bittersweet realization of how far we’ve come, and how much we longed for this standard even back then.
——That’s a very good thing then.
Across all three CDs of the retake project, do you have a personal favorite track?
Hazuki: That’s a tough question… But, for me, it has to be BRINGER. And, if I had to choose a second, it would be CULTIC EXECUTION. Simply put, I think they’re cool. But beyond that, they reflect something that we weren’t quite able to fully express at the time we originally wrote them. I can feel that clearly now. Back then, I didn’t have the vocal range or emotional control I’ve since developed. Now, I can do so much more with my voice — different textures, emotional tones, intensity. It’s allowed me to build a much deeper world within these songs. They feel more complete now. That’s why they really stand out to me. They represent both growth and rediscovery.
Reo: For me, it’s ROARING IN THE DARK. When we first released it, it was positioned as one of our catchiest tracks. It’s one of our brightest and most accessible within our catalog. But now, after 20 years as a band, I actually feel like it sits right at the core of what lynch. has become. Our musical range has expanded so much over the years. And, that’s actually helped pull this song back into the center — not just stylistically, but emotionally. It doesn’t feel like an outlier anymore. It feels like it belongs. Also, when I listen to this retake, I can really hear how far each of us has come as musicians — the instrumental precision, the emotional weight in Hazuki’s vocals. There’s a feeling that we’ve truly made the song ours. If I had to pick one track that captures the color and evolution of lynch. now — it would be this one.
——The upcoming 3-day live, MEN’S ONLY, WOMEN’S ONLY, and SHADOWS ONLY, is structured in a unique way, from a Westerner perspective. What inspired this concept?
Hazuki: It’s actually a concept we’ve explored before, years ago. And it’s something we like doing. We call it Limited Three Days. It’s not a new concept for us, but one we’ve always enjoyed.
Reo: When we started thinking about how to mark our 20th anniversary, one of the first things we did was look back at the journey we’ve taken. We reflected on the different ideas and formats we’ve tried before — things that were uniquely us. That’s when this concept came up again. We thought: “Why not revisit it?” And, as it turned out, we were able to book the same venue for three consecutive nights. That kind of opportunity doesn’t always come around, so we took it as a sign — and decided to bring the idea back in full.
——What kind of experience do you want each audience to have across these three themed nights?
Hazuki: This might be a bit delicate to talk about inherent differences. But in a typical mixed-gender crowd, we often see male fans holding back. Many of them actually want to let loose, to go wild in the pit, to release all that energy… But they hesitate. They’re afraid of accidentally hurting or touching someone — especially women — so they restrain themselves out of care and consideration. MEN’S ONLY shows completely change that dynamic. There’s this explosive energy that gets unleashed. It becomes chaotic — in a good way. It’s sweaty, loud, physical, and completely unfiltered. That rawness becomes the appeal. But at the same time, I also know there are women who want to experience that level of release too. Fans who want to scream, push, get swept into the music without worrying about being watched or held back. In the future, I’d love to find a way to make space for that as well — maybe an “All Mayhem Allowed” kind of show (laughs). That would be really interesting, I think.
Reo: I agree — it’s all about allowing the audience to feel free. To not have to worry about being too tall, too loud, too aggressive, too quiet. That’s why it can be beneficial to have men and women only shows. When I was younger, I used to go to a lot of lives myself. I’m 178 cm, which is pretty tall here in Japan, and even when I had a good ticket number, I’d hold back. I’d stay by the wall or try not to stand in front of anyone. I wanted to be polite. But in a MEN’S ONLY crowd, you don’t have to think about any of that. You can just charge to the front, throw yourself into the show, and no one bats an eye. It’s freeing. And that kind of freedom gives the show a completely different energy. The same goes for WOMEN’S ONLY. I imagine there are times when women feel watched or judged in a regular live setting. Maybe they hesitate to sing along loudly, or feel a little restricted in how they move. But with an all-female crowd, those pressures dissolve. I think the live becomes more relaxed, more personal. They can enjoy it in a way that’s truly their own, without any need for self-consciousness.
——Actually, I would’ve loved the chance to attend a women-only show — mainly for safety reasons. I’ve had a few uncomfortable experiences at lives before… so having that kind of space would’ve meant a lot. That said, I imagine some people in the West might see the idea as controversial or even sexist. From your perspective on stage, though — do you feel a difference in energy between male and female audiences?
Reo: Absolutely, the energy is completely different. At MEN’S ONLY shows, the crowd is more aggressive. Their reactions are intense and physical. And when we feel that from the stage, it drives us forward too. Our emotions accelerate — everything becomes more primal. It’s like a spark. Their energy ignites ours, and we all get carried away together. On the other hand, WOMEN’S ONLY shows have a softer edge. They’re not less passionate — not at all — but the vibe is more emotionally deep, than explosive. The energy is different. Both are powerful. There’s a kind of focused intensity in their gaze, in how they listen, in how they connect with the music. They feel the music intensely. It’s almost as if the emotional volume gets turned up, rather than the physical one. Both are powerful in their own ways. As performers, we love feeling how those different energies shift the mood of the live.
——Looking back on 20 years, what have you sacrificed the most for lynch.? And what have you gained the most from lynch. on a personal level?
Hazuki: That’s another tough one, Mandah (smiles and rubs his head). If I had to put it into words… I’d say what I sacrificed most is stability. Living this life — being in a band like this for two decades — means letting go of any kind of predictable routine. No set-schedule. No clean division between personal time and work. You’re constantly moving, emotionally and physically. It’s not something I regret, but when I look back, I realize I gave up the chance to have a more ordinary kind of life. The kind of life where things are calm, secure, structured. That sort of stability just wasn’t possible.
Reo: As a band that’s always on the move, touring all over Japan, there’s no question, one thing we end up sacrificing is our relationships with people outside the band. Especially old friends, friends from childhood, friends from my hometown. Even when they’d invite me out or try to stay in touch, I was always somewhere else. I’d be like: “Sorry, I’m in Fukushima this week” or “I’ll be in Hokkaido”… It was always like that. Eventually, that kind of distance takes a toll. You start to drift apart. I’ve definitely lost touch with many friends over the years. But on the flip side — and I say this carefully because I don’t want it to sound transactional — I think what we’ve gained is something far bigger: The people who are still here. The fans who’ve continued to wait for us, support us, grow with us. They’re the ones who’ve made it possible for this band to keep going for 20 years. That’s not something we take lightly. It’s everything.
Hazuki: As for me… I actually don’t feel like I’ve lost much. lynch. didn’t really take anything away from me. That said, outside of the band itself, there’s one thing I never really experienced: a typical school life. I never had the kind of youth you see in dramas — no school festivals, no university life. Sometimes I do wonder what it might’ve felt like to live that kind of life, to go to college, meet people in that context. But I don’t see it as a loss. Because what I chose instead brought me something completely different and honestly, irreplaceable.
——While you may wonder what it might’ve been like to follow a more conventional path, there are just as many people on that path wondering what it would feel like to have chased their passion. There’s always a trade-off — no matter which road you take. Anyway, what have you gained from lynch.?
Hazuki: So much. Truly. I’ve gained the life I ever wanted. I’ve had experiences I couldn’t have had any other way. I’ve met people I could only dream of meeting. I’ve had the chance to perform in venues that, when I was younger, I never imagined I’d even set foot in. It’s hard to put into words — but the path I chose gave me a life that was completely my own. I am very grateful for all these wonderful experiences.
——Who did you dream of meeting?
Hazuki: Many artists. But, LUNA SEA was the band that first pulled me into rock music. They were larger-than-life to me. And yet, their members have all been incredibly kind to me. I feel lucky to meet them occasionally. Also, Kiyoharu. He was the reason I wanted to become a vocalist myself. I’ll never forget the first time I met him. I was nervous, starstruck… I was literally trembling. That feeling of standing in front of someone you’ve looked up to for so long stays with you.
Reo: What I’ve gained is very similar to what Hazuki said. When you’re on stage, there’s this kind of high — a surge of emotion, energy, connection. It’s not something you can feel in normal, day-to-day life. It’s rare. And it’s something only a few people in this world get to experience. That’s been the biggest gift for me. And the fact that we have fans who still seek that out, who come to feel it with us, that means everything. The way they call our names, cheer for us, show us that kind of love… You don’t get that in a normal life. It’s incredibly powerful. All the happiness we’ve received through lynch. — through the lives, through the music, through the radio shows. It’s not something I take for granted. It’s what keeps me going. And I think that’s the greatest thing I’ve gained from all of this.
——Thank you so much for this deeply personal insight into your experiences as artists. You’ll be performing at Tokyo Garden Theater on December 28th. Can you tell us more about that live show?
Hazuki (laughs): I really need to stop saying this, but… that’s another tough question. This show will be held at a venue that’s even larger than Budokan, which was our biggest live to date. Of course, depending on the layout and stage design, capacity can vary, but it’s a big one. Because of that, we want this to be a setlist that truly represents the best of our 20 years together. A kind of greatest hits, not just in song choice, but in emotional impact. Our goal is to make this live show a stepping stone, something that leads to greater attention and opportunities for lynch. in the year to come. We want it to be a night we can look back on with pride and say: That was the moment things leveled up.
Reo: Exactly. It’s precisely because it’s a large venue that we can go big with the production — both in terms of sound and visuals. We’re planning a stage show that reflects just how much we’ve poured into these past 20 years. I want the people who’ve supported us all this time to come and feel it in their bones, that it was worth the wait, worth the love, worth the journey. More than anything, I want this show to be a launchpad. A reset point that pushes lynch. into our next chapter.
——Do you feel nervous at all?
Reo: Nope. I am not nervous at all. I’m more excited than anything. I just can’t wait to be there!
Hazuki: Hmm… I can’t say I’m not nervous. In fact, I am. I am a bit nervous. It’s a dream kind of live, you know? I feel some pressure to perform well. Also, I want to make sure I can actually enjoy it while I’m up there. That means I have to train hard, prepare well — so I can go on stage without being overwhelmed by nerves. I want to be fully present, to soak in the moment. It’s going to be something special.
——It makes me want to come see you play there!
Hazuki & Reo: Please do come! You’re very welcome.
——Thank you both.
Hazuki & Reo: Many thanks!
__________________
Mandah FRÉNOT
(c) VMJ
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