When a talented and successful guitarist chooses to step away from the limelight to embrace the simplicity of life: In this extensive interview, Ai Ishigaki, also known as ISHIG∀KI, speaks with depth and candor about his debut, his career – encompassing achievements and collaborations, and his decision to never pick up a guitar again.
Ai Ishigaki, also known as ISHIG∀KI, gained recognition as the guitarist of the renowned band THE MAD CAPSULE MARKET’S until his departure in 1996. Throughout his time with the band, Ishigaki contributed to their unique sound and energetic performances. After parting ways with THE MAD CAPSULE MARKET’S, Ishigaki embarked on a new chapter in his career. He transitioned into a role as a supporting guitarist, collaborating with a diverse range of artists including Tomoyasu Hotei, Kōji Kikkawa, Maki Ohguro, ends (Ryoichi Endo), DEMON KAKKA (SEIKIMA-II) and so on. In addition to his work as a supporting guitarist, Ishigaki joined the band Derailers in 2013, further expanding his musical horizons. As a member of Derailers, he continued to explore new sonic landscapes and push the boundaries of his creativity. Despite his success in the music industry, Ishigaki made the decision to step back from the spotlight in 2021. On August 21, he announced his retirement from the music industry on his Facebook page. In an exclusive interview, Ishigaki reflects on his career, sharing insights into his decision to retire and how his life has evolved since leaving the music industry behind.
–– Thank you for meeting me for this interview even though you retired from the music industry. I am very grateful for this. In this interview, I would like to talk about your whole career trajectory. We’ll start by going through each stage chronologically. First thing first, do you remember how you were invited to join the band THE MAD CAPSULE MARKET’S?
Ai Ishigaki: Absolutely! This takes me back to my high school days when I picked up the guitar at 17. I had senior classmates two years ahead, including KYONO (THE MAD CAPSULE MARKET’S) and Sin Murohime (DIE IN CRIES). I often hung out with them and their peers. It was through them that I discovered the world of music bands. Watching them perform ignited my interest in guitar, so I decided to give it a shot. During this time, there was a band paving the way for THE MAD CAPSULE MARKET’S. While that band was still in its amateur phase, I found myself working as a roodie. When this precursor band underwent significant changes, including a name and direction shift due to lineup alterations, an opportunity arose for me to audition as a guitarist. I seized the chance, auditioned, and successfully landed the gig. Within months of joining, we were already on the brink of debuting, thrusting me headfirst into the professional music scene. It was a whirlwind experience, and it all unfolded when I was just 20 years old.
–– Oh, that’s an incredibly rapid launch!
You started writing music and lyrics for THE MAD CAPSULE MARKET’S on the band’s third album, Speak!!!! (1992). Do you remember what it was like to compose your first music?
Ai Ishigaki: Actually, I was originally a composer, but my songs didn’t make it onto the albums because each member of the band was responsible for writing music and lyrics. When we discussed which songs to include, mine just didn’t make the cut. So, the first already existed before I joined. I had been composing for a while, but it was only around that time that my compositions started getting recognized. I had been composing songs even before joining THE MAD CAPSULE MARKET’S, basically since I started playing the guitar. I even performed original songs at school festivals.
–– Incredible!
Do you remember the recording sessions for the Speak!!!! album?
Ai Ishigaki: Somewhat (laughs). We went to a place called Kobuchizawa, where there was a recording studio. We had a sort of camp there, staying overnight and working on the album.
–– What unique stylistic elements do you think you introduced to THE MAD CAPSULE MARKET’S?
Ai Ishigaki: That’s a difficult question (thinks). Initially, I was thrust into the professional music scene with little direction, grappling with my newfound status as a “pro” while still lacking in experience. However, around the release of Speak!!!!, I started to cultivate my own unique style. While I had previously attempted to conform to the band’s collective aesthetic, I realized the necessity of establishing my own artistic identity. This realization prompted me to express myself in a manner that felt authentic and true to myself. For instance, while others opted for casual attire, I might don a suit or experiment with bold hairstyles and makeup. This wasn’t about seeking attention; rather, it was about staying true to myself. The turning point came when I met Atsushi Sakurai (BUCK-TICK), whose presence inspired me to embrace my individuality and assert my personal style. From that moment on, I became more vocal about my creative vision and desires. While navigating the dynamics within the band, which were rooted in our school relationships, it took me about three years to gain the confidence to express myself openly.
–– Did the band members accept each other’s individual styles?
Ai Ishigaki: It’s difficult to say for certain, but I believe there was an unspoken acceptance of each member’s unique contributions. Our band’s dynamic differed from typical fusion or punk rock groups, with each member bringing something distinct to the table. This diversity initially sparked intrigue but ultimately became a defining characteristic of our band’s identity.
–– What aspect of being in TMCM did you find most enjoyable?
Ai Ishigaki: For me, personally, it was probably our collective effort in shaping THE MAD CAPSULE MARKET’S. We were all members of the band, but we were also part of something bigger – THE MAD CAPSULE MARKET’S as an entity. I hope this makes sense. It was like we were asking ourselves: How do we create something that truly represents this band? Each of us was deeply invested in defining the band’s identity and direction. That collaborative process was incredibly stimulating. And when it comes to live performances, that’s where things got really intense. The energy was electric, especially with a crowd that was predominantly male, and they were completely letting loose – moshing, stage diving, you name it. It was chaotic (smiles). The atmosphere was charged with this palpable sense of competition, almost like a battle. The audience wasn’t just there to listen; it was like they were challenging us, and we had to meet that challenge head-on. That tension, that constant back-and-forth, made every performance exhilarating (smiles with intensity). It was less about friendship among band members and more about the raw energy exchanged between us and the audience. It was crazy intense, believe me. And playing overseas added another layer of excitement, although sometimes it got a bit too literal with beer bottles being hurled our way.
–– Ew… Where did that happen?
Ai Ishigaki: In San Francisco.
–– And this was… fun (laughs)?
Ai Ishigaki: Surprisingly, yes (laughs)! It was a moment where you realize the power of music to transcend language and cultural barriers. Music transcends everything. It was a raw intensity, real freedom. Despite any initial resistance from the crowd, the music eventually united everyone in a shared experience of pure energy and emotion. It’s moments like those that remind you of the incredible impact music can have.
–– Preach! Music is powerful.
In 1993, you were invited to play on Soft Ballet’s Incubate album, specifically on the track Piled High Deeper composed by Maki Fuji. Could you share your memories and experience of this collaboration?
Ai Ishigaki: Sure. It was a memorable experience for me. I believe the invitation stemmed from our existing acquaintance and mutual presence on the same label, which naturally fostered a sense of closeness. Maki Fuji, the producer behind the project, envisioned incorporating elements reminiscent of THE MAD CAPSULE MARKET’S into the song, which prompted our involvement. Working with Maki Fuji was truly inspiring; his clear vision and expertise in production made the process seamless. He is a great producer. He had a distinct idea of the sound he wanted to achieve, leaving me to simply execute his instructions. While I didn’t contribute many personal ideas or suggestions, I embraced his guidance and delivered the performance accordingly. This collaboration deepened my relationship with the band members.
–– Right! It was a significant encounter, leading to a deep and lengthy collaboration with Ryoichi Endo (ex-Soft Ballet, ends). In 1996, you departed from THE MAD CAPSULE MARKET’S and began collaborating with Ryoichi on his solo project ends.
Ai Ishigaki: Strictly speaking, while still with THE MAD CAPSULE MARKET’S, I began working with ends (Ryoichi Endo). Ryoichi and I hit it off right away. Despite the age difference, we shared similar thoughts, values, and interests. We often hung out at each other’s homes, enjoying drinks and engaging in long phone conversations. We would sometimes talk for 3 hours on the phone (laughs). So, when he proposed working on ends, it felt like a natural fit. I remember heading to his place to play guitar for the recordings and it just clicked. But, ends was primarily Ryoichi Endo’s personal project rather than a band, so I always felt like I was just lending my support rather than being fully involved.
–– 3 hours!
What prompted your departure from The Mad THE MAD CAPSULE MARKET’S?
Ai Ishigaki: Well, at that time, it felt like the band’s trajectory and my personal direction were slightly out of sync. It’s like rowing a boat together – if only 1 person rows in a different direction, you don’t move forward smoothly. So, I felt that by stepping off that boat, THE MAD CAPSULE MARKET’S could continue on their path while I pursued my own. Initially, I wasn’t aligned with their goals. Considering our diverging interests, I felt it was best to part ways and pursue my own path.
–– I see.
What did you enjoy the most about working for the project ends?
Ai Ishigaki: Well, working with Ryoichi Endo has always been great! What stood out the most about him was his sense of humor. Being around him was undoubtedly enjoyable. He’s a fun character. His personality brought something special to the music, making it even more interesting. It wasn’t just the sound; it was his attractive aura. We connected well. Working with him was a delight. He’s a very close friend of mine.
–– So, would you say the most enjoyable aspect was the interpersonal dynamic?
Ai Ishigaki: It wasn’t solely about the interpersonal dynamic, but rather, his overall inherent charm. He was fun to be around, he had charisma and was creative, which made the collaboration truly fascinating.
–– The collaboration was indeed successful. While Ryoichi Endo’s name was officially tied to the solo project, ends, for the second album, SPACY (1997), you played a significant role. You arranged all the songs and even composed some. Did you ever feel like ends became your project as well, or was it always perceived as Ryoichi Endo’s solo endeavor?
Ai Ishigaki: I always knew it was Ryoichi Endo’s solo project but, with this second album, it was a collaborative process. He would lay down the basics but it felt more like working as a band rather than just following one person’s vision. Despite being labeled as Ryoichi Endo’s solo project, it had more of a band dynamic, so there wasn’t a clear distinction.
–– I will return to the topic later on. In the 2000s, you began collaborating with various musicians, including Tomoyasu Hotei, DEMON KAKKA (SEIKIMA II), Maki Ohguro among others.
Ai Ishigaki: That’s correct!
–– Was this a conscious effort?
Ai Ishigaki: Not really. It was pretty straightforward. Instead of actively seeking collaborations myself, I received offers from others asking if I’d be interested in playing guitar. Around 1998, during my time working on the ends project with Ryoichi Endo, I got an offer from Tomoyasu Hotei. He was originally from the band BOØWY, which I admired a lot during my school days, and I used to cover their songs. When Tomoyasu Hotei approached me, saying: “I think the atmosphere of the next album fits your guitar style“. I felt honored and agreed to join. That experience was probably the most enriching for me.
–– It’s a true accomplishment when an artist you’ve liked for years reaches out to collaborate with you. Why exactly was it enriching?
Ai Ishigaki: It was enriching because it gave me a comprehensive understanding of the music industry—its systems, concert arrangements, audience and fan interactions—all woven together into a perfected form of entertainment. Before this, concerts seemed to revolve around male aggression and chaos, but immersing myself in the world of entertainment showed me the proper way to approach things. And, encountering such an iconic guitarist that is Hotei provided valuable insights. While he didn’t directly teach me, his nuanced suggestions like “This part needs more of this vibe” made me realize important aspects. He helped shape my mindset towards guitar playing, emphasizing the significance of certain elements. For instance, with electric guitars, even noise has its musicality. He taught me to ensure silence during breaks. Learning these intricate details transformed my consciousness, mindset, and approach to music, guitar, and entertainment, especially around the age of 28.
–– Tomoyasu Hotei seems to have had a big impact on you.
Ai Ishigaki: It wasn’t just from Tomoyasu Hotei, but also from his team of about 100 staff members. Having such professionals focus their attention on you, directing the stage toward you, is quite impactful. Seeing the professionals, like spotlight operators, lighting technicians, and various staff members, collaborate to create the concert venue, I realized the level of responsibility in the professional world. And, considering that the audience pays money and sacrifices their time to attend, feeling lazy or unwilling to perform isn’t acceptable. This experience prompted a shift in my mindset, highlighting the importance of professionalism.
–– Like a job?
Ai Ishigaki: It was more than just a job; it felt like entering the realm of professionals. My perspective shifted from one thing to another. I became more conscious of doing things properly. It’s about paying attention to the finer details. It felt like a significant shift in mindset.
–– From 2010, you ventured into collaborations with artists outside the rock genre. What led to this decision, and what insights have you gained from these collaborations?
Ai Ishigaki: It wasn’t about specific music genres but rather about receiving offers and deciding whether to accept or decline. Take the collaboration with Maki Ohguro, for instance. I admired her music as a listener, but receiving an offer from her was unexpected. But, upon meeting her, I realized she had a strong rock orientation, and her music convinced me to give it a try. Since she understood my style and tailored her offer accordingly, I didn’t feel the need to compromise. She presented me with opportunities that allowed me to maintain my style, which made me feel comfortable and authentic in any collaboration. On the other hand, if that authenticity were compromised, I would decline.
–– Have you ever turned down an offer? If so, from whom?
Ai Ishigaki: Yes, there have been instances, but I can’t reveal them (laughs)!
–– What criteria do you use to decline offers?
Ai Ishigaki: It’s simply a matter of aesthetic compatibility. When our artistic sensibilities are too different, it becomes challenging to proceed. For instance, if I were asked to appear in a comedy, I might hesitate. Personally, I enjoy them, but it might not fit with my personal style or brand image as “Ai Ishigaki”. It’s about aesthetic compatibility. If the proposed project doesn’t align with my brand image, I might have to decline, regardless of the people involved.
–– I see.
Can you tell me more about your own projects: ROCKSTEADY and Derailers? I couldn’t find much information about them… They didn’t stick together long, did they?
Ai Ishigaki: Regarding ROCKSTEADY, our different production styles sometimes caused friction, but I believe if I had been more assertive, we could have overcome those challenges. It’s a personal regret for me because there was a lot of passion for the music, and listening to it still stirs up strong emotions. I wish we had left a tangible mark. As for Derailers (DRLS), despite our comeback and steady activity, personal obstacles made it difficult to maintain motivation, especially as I was also transitioning away from being a guitarist. It was a tough decision to leave the band, particularly considering the talent of members. I still feel sorry for RUEED because I pulled him into this project. He is an artist with great potential regardless of the genre and his inner energy. I wish we could have explored more together. Additionally, I was involved with MUNEHIRO with ‘Bout Da Wo at the same time as DRLS. MUNEHIRO possesses incredible talent, and I envisioned a bright future for the band. I regret not having the chance to perform live more regularly with them. I wish we had the opportunity to perform live more frequently as well.
–– In 2021, you made the decision to retire from performing on stage. What prompted this decision? Reflecting on it three years later, how do you feel about that choice?
Ai Ishigaki: There’s a profound concept in Japanese Noh theater known as “Flower of the Moment (Jibun no Hana), Flower of Truth (Makoto no Hana). Each era is said to have its own blossoming, representing personal growth or achievement. I began my journey at 20 and bid farewell at 50. Throughout those three decades, there were peaks, times of being in the limelight during my 20s, 30s, and 40s. Despite being rooted in music, I’ve always approached it with a somewhat athletic mindset. Athletes typically retire at a certain age, don’t they? But for musicians, the journey can extend a lifetime. Unless you actively choose otherwise, you remain a musician until the end. For me, it didn’t feel drastically different. There are different stages in life. I believe that it’s ideal to retire at the peak rather than after a decline. Just like the flower metaphor, retiring at the pinnacle symbolizes reaching the highest level of artistic expression and authenticity. The flower represents an individual’s unique talents and moments of peak performance. The bloom of a flower represents personal growth and achievement. It signifies sincere and profound artistic expression, akin to the pure beauty of a flower in full bloom. For me, it felt like the right time to close that chapter and begin a new journey in life.
–– That’s a beautiful metaphor.
Ai Ishigaki: Right! Actually, my retirement happened later than I initially planned. I actually wanted to retire at 40, but it ended up being extended by 10 years. I never envisioned myself being a musician for life, and being a musician wasn’t something I consciously pursued from the start. While I love music and enjoyed what I did, when I first stepped onto the stage, it was more about my sense of existence, my values, preferences, or clothing style, which felt somewhat different from those of others. I sensed a gap, feeling slightly out of sync. I wanted to bridge that gap, to show that this is who I am, or perhaps to seek validation for it. The guitar just happened to be the medium of expression at that time. If I had met a hairstylist instead, I might have pursued that path. Regardless of the means of expression, the essence lies in what I should do, what I wanted to do. I desired recognition for my identity from the world. The concept of identity we discussed earlier ties into this. I always felt a sense of dissonance within the Japanese school education system, where conformity often took precedence over individuality. There were contradictions too. Why was something deemed unacceptable? For instance, the tradition of boys having black school bags and girls having red ones puzzled me. I didn’t understand the rationality behind all these stupid rules, so I opted not to use a traditional school bag from elementary school and carried a tote bag instead. Even regarding clothing, I preferred long pants over shorts when I was young — while all the boys were wearing shorts.
–– My gosh, I am completely on the same page with your comment on social expectations. As soon as I entered school, I felt like an outcast…
Ai Ishigaki: Oh! Despite others questioning why I didn’t conform to the norm in my appearance, or why I couldn’t just blend in, there was always this gap, this societal norm gap, within me. Because of that gap, I had to find a way to express what beauty and consciousness meant to me. So, taking the stage with a guitar, under the spotlight, was my way of saying: This is who I am, to others. The societal pressure to conform to norms and the internal struggle I faced due to feeling out of place with those norms, I found my own way to express my identity and values through music, particularly by playing the guitar on stage. But I feel like I haven’t fully achieved that and I am now contemplating new ways to express himself as I entered a different stage of life. I wanted to move beyond just being known as a musician and present himself more holistically as “Ai Ishigaki”. The concept of flower and time signifies a unique moment that can only be experienced once, and once it’s gone, it transforms into the flower of sincerity. Now, I feel the need to express myself differently, considering my age. The performances you can give in your 20s and 30s are undoubtedly different from those in your 50s and 60s. So, now that I’m in 50-60’s, I want to express myself in new ways beyond just being a musician, to present myself as Ai Ishigaki, not just as a guitarist. It’s about saying, This is who I’ve been from age 20 to 50 as a guitarist, and thanking everyone for the journey. There’s really nothing left. No regrets, no lingering thoughts. It’s more like: Thank you for your hard work, goodbye, in a clear-cut manner.
–– I see.
Which music genre did you find the most enjoyable to work in? Which one did resonate with you most?
Ai Ishigaki: Well, each one had its own charm. I feel most alive when I’m on stage. It’s hard to put into words, but when there’s a cool vocalist beside me, it’s really fun and invigorating.
–– Why is that?
Ai Ishigaki: Hum, I think there’s a special connection between the vocalist and the guitarist. It’s intangible but… Like with Steven Tyler and Joe Perry (Aerosmith), or Mick Jagger and Keith Richards (The Rolling Stones), the bond or dynamic between them, having someone like that beside you makes you want to give it your all. Those moments are incredibly enjoyable. Whether it’s someone like Maki Ohguro or Yoshiharu Shiina (SURFACE)… Well, even Endo had that effect —when you see someone cool beside you, it’s very inspiring.
–– Completely understand. Let’s not forget about Robert Plant and Jimmy Page (Led Zeppelin). Among all the bands and artists you’ve collaborated with, which collaboration stands out to you as the most memorable, and why?
Ai Ishigaki: While playing guitar on the side of the stage, I experienced real chills when collaborating with a Korean artist named Youjeen. Youjeen, currently the vocalist for the Korean band Cherry Filter, was produced by J of LUNA SEA. And, there’s Yuki Koyanagi, known for the famous song Aijou, and Koji Kikkawa. These three left me in awe just by listening to them on the side when I was playing along on stage. It was electrifying.
–– I see.
Could you share a memorable or interesting backstage or touring experience from your time in the music industry?
Ai Ishigaki: During my activity with Hotei, aside from the big hall tours, we did a live house tour. We played at a venue in Fukuoka called Drum Logos, which holds about 1000 people. Since we were on an arena tour at the time, we brought the arena equipment with us. When we set it up in the small venue, we realized there wasn’t enough power. Essentially, the voltage was insufficient. We had to connect a power car to supply electricity (laughs). But, during the performance, all the power suddenly went out, and the audience, packed tightly like sardines in a can, couldn’t move (laughs). We had nothing to do until the power came back, so we decided to take a nap and grab some food (smiles embarrassed). It was funny and awkward at the same time, the audience was all packed up and scared while we were just chilling. We couldn’t do anything else (laughs).
–– Oh (laughs)!
Ai Ishigaki: Yeah (laughs)! Another memorable experience was when I accidentally fell off the stage at Nippon Budokan while doing a guitar solo. Falling off the Budokan stage would cancel the show, so the moment I fell, I panicked and desperately climbed back up.
–– You could have hurt yourself really badly… I am sure you have tons of stories (laughs). Reflecting on your career, what are some of the greatest accomplishments that stand out to you?
Ai Ishigaki: One of the most memorable moments was when I first picked up the guitar at 17 and performed on stage at a school festival. It was then that I thought: “Someday, I want to perform at Nippon Budokan“. This simple thought became a reality when I eventually stepped onto the stage at Nippon Budokan, marking a significant milestone in my career. It felt great! Another standout experience was during my time with The Mad Capsule Markets. Starting with just 5 or 6 people on the audience, we toured nationwide, gradually building a fanbase. The moment that truly felt like a major accomplishment was when we held our first headline concert at Club Citta in Kawasaki, and approximately 1000 people attended. It was a culmination of hard work and dedication, and reaching that point was immensely gratifying. These two moments remain the most significant in my career.
–– Bringing your dream to life is truly an incredible feeling of accomplishment.
What aspect of the music industry do you find most challenging or dislike the most?
Ai Ishigaki: This might be a bit controversial, but for me, the idea of considering the feelings of the audience or listeners when expressing oneself doesn’t feel like art. It feels more like marketing, turning it into a product. I do love art and artists who express themselves without such considerations, focusing on what they want to convey from within. So, when the music industry becomes business-oriented, the dominance of non-artistic aspects becomes inevitable, which I find somewhat contrary to the essence of art. Typically, when a band debuts, they are told they can do what they want if they become successful. I understand the logic behind it, but when the process of becoming successful becomes too focused on the audience’s perspective, it tends to become more about providing a service, turning into mere customer service. However, people in the industry insist on providing service, or else the audience won’t grow. This fundamental mindset felt unsettling to me.
–– I get it: the process of seeking validation from others, a bigger audience, can lead to losing oneself, making it difficult to stay true to one’s own identity. How has your life changed since retiring from the spotlight professionally? Have you continued to play music privately or pursue any other creative endeavors since retiring?
Ai Ishigaki: Since retiring, I’ve been helping out friends who are artists, assisting with things like curating exhibitions. I have been helping them with the selection and organization of their artistic works for presentation. Essentially, I’ve been living a normal life for about three years. Recently, I’ve started to realize that I probably enjoy being involved in curating or other creative activities. I’ve been thinking about trying something new.
–– I can see your creative side through your social media too. The content you share is always deep and inspiring. Do you compose or record music privately now?
Ai Ishigaki: I have a stockpile of songs, so sometimes when someone asks me to write a song, I provide one from my collection. But as for creating something new, I’m not doing that at the moment. I don’t have any equipment. I don’t own any guitar anymore. I made a clear decision to quit playing the guitar, so since then, I haven’t touched it at all. I’ve given away all my guitars. One of them is being used by HISASHI (GLAY). I’ve given away the rest to anyone who wanted them, so I don’t have any guitars anymore.
–– Why is that? Have you lost interest?
Ai Ishigaki: Well, playing an instrument is enjoyable, but once I decide to let go of something, my interest tends to shift away from it. It’s like that phase has passed, and I’m focused on the present. Looking back is fine, but reaching out to it again? I don’t think so. I’m more interested in what’s in front of me now. Maybe I’ll play the guitar again in the future if there’s a cool opportunity, but I won’t actively pursue it. Right now, I’m more into appreciating architecture or art.
–– I think you are also interested in photography, aren’t you?
Ai Ishigaki: Yes, I am. I enjoy taking photos. Taking photos is similar to composing music for me—it’s all about expression. I also like interacting and discussing with people.
–– Sometimes for 3 hours, right (laughs).
What’s the most enjoyable thing for you lately?
Ai Ishigaki: Probably walking my dog in the morning (laughs). I like long walks. I can wonder around for 2 hours (looks a bit embarrassed).
–– Same here! Simple life.
Ai Ishigaki: Exactly that! Just the simple, mundane things like waking up in the morning, soaking in the sunlight, having breakfast, going for a walk—those everyday simple things are the best. It’s something tangible, a sense of being alive. Especially in this surreal world of non-reality.
–– Finding beauty in the mundane and embracing a lifestyle that prioritizes simplicity, contentment, and appreciation for life’s basic pleasures and experiences. Do you read books?
Ai Ishigaki: I used to. But recently, my eyesight has been deteriorating. It’s a bit of a hassle (smiles). But if there’s something that interests me or catches my attention, I’ll skim through it.
–– Are there any regrets or things you wish you had done differently during your time in the spotlight?
Ai Ishigaki: There probably were, but while some say they have no regrets, I believe regrets are a part of growth. Making mistakes or experiencing regrets is a natural and necessary aspect of personal development and maturation. It implies that through reflecting on past actions, decisions, and outcomes, individuals can learn valuable lessons, gain insight, and ultimately grow and evolve as individuals. So yes, there are many things I wish I had done differently, but I don’t dwell on those thoughts. For instance, I think it’s good to stick to your beliefs, but in hindsight, being too rigid in my beliefs was a regret. Despite thinking I knew myself best, I actually didn’t. Sometimes, others understand our strengths better than we do ourselves. So, when someone suggests: “Why don’t you try doing it this way?” – instead of rejecting it outright with “No, that’s not for me” it might be worth giving it a try. By doing so, you may discover aspects of yourself you didn’t know existed or uncover hidden strengths. So, it’s not advisable to be overly fixated. I think having principles and values is great but having obsessive beliefs and strong fixations isn’t.
–– Did you want to challenge yourself more?
Ai Ishigaki: Perhaps I could have been more flexible and tried a wider range of things, yes.
–– If you could give advice to your younger self about navigating the music industry, what would it be?
Ai Ishigaki: An advice (laughs)? I wonder… But as I mentioned earlier, I think one’s convictions, not obsessions, shouldn’t waver. It’s important not to falter. I believe one should firmly hold onto their convictions regardless of the field they’re in. Whether you’re a musician, an architect, or running a café, I think those convictions should remain unchanged. So, that awareness should be solid. Convictions provide a clear sense of direction and purpose. They help you stay focused on your goals amidst challenges and distractions. Having strong convictions ensures consistency in your actions and decisions. They give you the resilience to persevere and overcome obstacles. Convictions are rooted in your values, beliefs, and identity. Embracing them allows you to stay true to yourself and maintain authenticity in your work.
–– Indeed.
We talked about this privately before and you were indeed correct: it seems that Ryoichi Endo hasn’t retired after all. In fact, he’s currently working on an album. If he were to embark on a tour again, would you make an exception and join him on stage?
Ai Ishigaki: I saw that, I read your article (smiles). The last time I crossed paths with Ryoichi Endo was when Ken Morioka (Soft Ballet) passed away, about eight years ago. Even then, he mentioned being involved in recording. He’d spoken of it even earlier, so it’s been a consistent endeavor for about 15 years. He’s been working in the recording studio for quite some time. I hope that the fact that he approved the publication your article signals his readiness to push himself toward releasing his album.
–– It’s a wait and see situation, isn’t it? Why do you think he hasn’t released it yet?
Ai Ishigaki: He approaches his craft with meticulous attention to detail. For example, when he composes a song, he delves into various potential arrangements, each spawning multiple variations. This process seems to unfold endlessly, as he continuously refines and explores new possibilities. In essence, he immerses himself so deeply in the creative process that the notion of reaching a definitive endpoint becomes elusive.
–– A perfectionist. If he were to tour again, would you consider joining him on stage? Or is collaboration out of the question due to your retirement?
Ai Ishigaki: From my side, it’s not something I would pursue actively.
–– You brought up Sakurai Atsushi earlier, and I would like to conclude the core of the interview with a word about him.
Ai Ishigaki: As I mentioned earlier, I must express my profound gratitude to Atsushi Sakurai. Without his influence, I doubt I would have achieved what I have in this industry. He’s been instrumental in shaping my approach and mindset. Despite his humble demeanor, I consider him a mentor and a guiding light. His encouragement led me to discover my unique style and paved the way for my entry into this world. And beyond his professional impact, he was genuinely kind-hearted. I am still in denial… (gets lost in his thoughts).
–– I’m sorry for touching on sensitive memories.
Ai Ishigaki: It’s alright.
–– To wrap up the interview on a lighter note, let’s play a little game called First and Last. What was the first guitar you ever owned and the last one you bought?
Ai Ishigaki: OK (laughs). The first one I bought with my own money was a Fender JAPAN Telecaster, but I think I quickly switched to a Stratocaster. The last one I bought was a Gibson ES335… No, actually it was a Fender Telecaster Custom ‘73. My career began with a Telecaster and ended with one. I came full circle, didn’t I (laughs)? Funny enough, I have always liked the Stratocaster more than the Telecaster (laughs).
–– What was the first concert you attended and the last one?
Ai Ishigaki: You know what, I still go to concerts (smiles). The first concert I attended was by Koji Kikkawa during his Modern Time tour. The most recent one would be TRF at the Nippon Budokan.
–– What was the first song you learned to play on guitar and the last one you mastered?
Ai Ishigaki: The first song I ever copied was Cloudy Heart by BOØWY. As for the latest one… Probably No Good News Today from SEIKIMA-II.
–– What was the first guitar solo you attempted and last?
Ai Ishigaki: Probably when I was a second-year high school student, while I was composing originals, so it was around that time. The first guitar solo I attempted was my own and the last, probably something by DEMON KAKKA. A song I wrote myself: Taiyou ga Ippai, I think.
–– Your own? That’s impressive!
What was the first gig you played as a guitarist and the last one?
Ai Ishigaki: That would be at the school festival, the Cultural Festival. Also, I was in two bands at the time, my own band and a cover band. We would cover songs by BOØWY or PERSONZ. I am uncertain about this though. The last one was with DEMON KAKKA and the last song I ever played was, with him, a song called ♡8 that I co-wrote, produced and arranged.
–– What was the first album you bought and the latest one?
Ai Ishigaki: The very first album I bought… The one that sticks in my memory is probably Duran Duran’s Rio. Either that or David Bowie’s Blue Jean. I started listening to Western music around the end of elementary school, and I liked Duran Duran and David Bowie.
–– What about the lastest album?
Ai Ishigaki: The last album I bought was probably MORRIE’s Ballad D. I didn’t buy the CD though. I only buy music from subscription services now.
–– Thank you for your generous time and profound insights. I had a wonderful time, sincerely.
Ai Ishigaki: Same here, thank you.
__________________
Mandah FRÉNOT
(c) VMJ
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