From his initial collaboration with Hotei to AUTO-MOD’s latest album, frontman GENET opens up about his musical journey. With AUTO-MOD having reached iconic status in the punk scene, GENET delves into its debut in Japan, shares untold stories about Kyo from DIR EN GREY, and reflects on his personal bonds with the late ISSAY from DER ZIBET and Atsushi Sakurai from BUCK-TICK.
AUTO-MOD is a Japanese punk band that was formed in 1980. They are widely regarded as pioneers of positive punk in Japan, blending their energetic and aggressive sound with uplifting and thought-provoking lyrics. Throughout their career, AUTO-MOD has released numerous albums and gained a dedicated following in the Japanese punk scene. In Autumn 2023, AUTO-MOD released their highly anticipated new album, which further solidified their status as one of the leading forces in the punk genre. The album showcased their signature sound while also exploring new musical territories. Looking ahead, AUTO-MOD is gearing up to release another album in Autumn 2024, promising fans even more of their unique blend of punk, new wave, and industrial music. Read the full story as GENET opens up about the band’s evolution, their influences, and the impact they have made on the Japanese punk scene.
––You are said to be a big figure of punk rock in Japan, do you agree?
GENET: Am I? Initially, punk was a genre without a clear definition, style, structure or pattern. I think I created my very own style as soon as I started making music. One of my earliest bands was MARIA 023, which was active from 1978 to 1979. At the time, I didn’t realize that my music was fitting into any specific genre. However, years later, listeners who had experienced our music back in 1979 identified us as “post-punk” while other bands were labeled as “old-school punk”. This made me realize that punk indeed has distinct patterns. Punk has been a part of the music scene for many decades, but its definition can vary from one person to another. For instance, some people argue that AUTO-MOD doesn’t fit into the punk genre because the music isn’t purely punk. As for me, punk is more about the spirit and attitude than a specific sound or aesthetic. If you look at the punk scene in New York, it’s vastly different from the punk music produced by the UK like the Sex Pistols. Yet, both are considered punk. This is because punk is not just about the music, but also about rebellion, non-conformity, a do-it-yourself ethos. Punk has a spirit like Jerry Rubin’s book “Do It”, which tells about the late 1960’s- early 70’s counter culture that occurred in the US during this time period. It’s about challenging the status quo and expressing oneself authentically, regardless of societal norms and expectations. For me, Abbie Hoffman embodies the punk spirit. He was as an American political and social activist who co-founded the Youth International Party (“Yippies”). In conclusion, while punk may have a recognizable style, it is not confined to a specific sound or look. It is a diverse and dynamic genre that continues to evolve and inspire, much like the bands I have been a part of. Punk is a spirit, an attitude, and a form of expression that transcends geographical and cultural boundaries. The definition of punk can vary from person to person, making it difficult to provide a definitive answer. What makes AUTO-MOD punk, is the band’s spirit. However, it is worth noting that the punk community often attracts individuals who are drawn to the darker, violent, destructive aspects of life which are only a part of me. Overall, I am a peaceful person full of love. Usually… (laughs)
––How were you introduced to rock music?
GENET: As a child, around the age of 10, I was drawn to the powerful and electrifying sounds of hard rock. I was particularly captivated by the music of Jimi Hendrix and Cream, both of whom were pioneers of the genre. I also developed a fondness for psychedelic rock, a genre known for its experimental sounds and mind-altering lyrical themes. As I grew older, my musical tastes evolved and I found myself gravitating towards progressive rock. This genre appealed to me because of its complexity and the way it pushed the boundaries of traditional rock music. One band that stood out to me during this time was King Crimson, a band that was at the forefront of the progressive rock movement. Interestingly, my musical preferences were quite unique among my peers. It was unusual for a child in primary school to be listening to hard rock and progressive rock. I discovered these bands through various mediums, including the radio and television. However, for more niche genres like progressive rock, I had to rely on music magazines. During this time, the Japanese music scene was undergoing a significant transformation. The popularity of Group Sounds, a genre that dominated the Japanese music scene in the 1960s, was waning.
––Group Sounds?
GENET: Group Sounds is a category of Japanese rock music that gained popularity during the mid to late 1960s. This genre is notable for its fusion of traditional Japanese Kayōkyoku music with Western rock music, creating a unique blend of sounds that appealed to a wide audience. The term “Group Sounds” was coined to describe the collective nature of these bands, which often featured multiple vocalists and instrumentalists. The production techniques used by GS bands were considered groundbreaking and played a significant role in shaping the future of Japanese popular music. These techniques included the use of advanced recording technology and innovative songwriting methods, which helped to elevate the quality and complexity of the music. Despite the genre’s relatively short-lived popularity, with its peak lasting only a few years, the impact of Group Sounds on the Japanese music industry is undeniable. It paved the way for the fusion of different music styles and set a new standard for music production in Japan. The bands that managed to survive this decline began covering songs by foreign rock artists like Jefferson Airplane and Jimi Hendrix. I believe, this eventually led to the creation of original rock songs, marking the beginning of the “Japanese rock” (j-rock) era. This was followed by a surge in popularity of hard rock and the emergence of the hippie movement. Around the same time, I became intrigued by the hippie movement. I was drawn to the rebellious spirit of rock music, even though I didn’t fully understand what it was rebelling against. The “Peace and Love” motto of the movement resonated with me, and, the child that I was found himself identifying as a hippie. A few years after, when I was in high school, King Crimson disbanded which was a significant blow to me. It felt as though the musical world I had built around myself was crumbling, leaving me feeling lost and directionless.
––You coped by becoming a punk-rocker?
GENET: During my middle and high school years, I was introduced to The Velvet Underground, a band often hailed as the progenitors of punk rock. My initial reaction to their music was one of confusion and disbelief. I thought their music was just noise and that anyone could replicate what they were doing. John Cale, a member of The Velvet Underground, was a talented violinist in university but deliberately made harsh sounds with his instrument. I initially hated it and thought he was crazy. However, I later came to appreciate their unique sound and the way they challenged conventional musical norms. I think that the emergence of punk rock coincided with the disbandment of King Crimson. As someone who was too young to fully participate in the hippie movement, I was drawn to this new form of rebellion. The anti-war sentiment and the emphasis on love and peace echoed the values of the hippie movement, and I felt a strong connection to this new genre. I soon realized that the music I was looking for could be classified as “punk”. This realization was liberating, as it meant that I could create whatever I wanted without being constrained by traditional musical norms. I felt like I could do whatever I wanted. If I wanted to take a chainsaw and cut this table in half, and record the sound, it would be a punk sound (laughs).
––Have you ever tried anything like that (laughs)?
GENET: No (laughs). But I think that kind of action, linked to resistance, fits well with the punk spirit. The punk ethos of resistance and rebellion resonated with me, and I felt a sense of belonging within this genre. During this time, I was approached by the owner of the Punk Rock Cafe in Koenji (Tokyo), who suggested that I start a band. Initially, I didn’t take this suggestion seriously. But, he persisted, assuring me that technical proficiency was not a prerequisite for starting a band. This led to the formation of my first band, Worst Noise (1977-1978). Worst Noise was a fun and eclectic band that included guitarist Kawada Ryou, the most violent guitarist of Japan, and keyboardist Kudou Touri, who would later become a prominent figure in the “Noise Music” scene. This band almost disappeared without performing any live performance. I then formed a band called Worst Noise DTD (1978-1978) with Touri Kudo. We were active in the Noise Music, free music, scene. Despite our diverse musical backgrounds, we managed to create a unique sound that was a reflection of our individual influences. This experience was incredibly enriching and laid the foundation for my future musical endeavors. Worst Noise DTD disbanded a year later. Kudo Touri, after parting ways, made an album called Tennou, which was released in 1980, and it is sold at a very high price today. He has fans all over the world. As for me, I formed a band, Maria023 and made my first record. Then I went to London in 1979, and after returning to Japan in 1980, I created a completely new concept band AUTO-MOD. Kawada Ryou went to THE FOOLS and became a part of the Japanese Rock N Roll history. Kudou Touri created NOISE and has become famous in the Noise Music scene. He also plays in Europe. We had very different genres. I found this experience really enriching.
––Do you see AUTO-MOD as a solo project? The line-up has changed a few times.
GENET: No, I don’t (smiles). AUTO-MOD is not a solo project for me, but a collective effort that represents the group’s image. I strongly believe that the true essence of AUTO-MOD can only be fully expressed through the synergy of a group. I am probably the figure of AUTO-MOD. But I like it to be a band. When Hotei, our guitarist, was part of AUTO-MOD until 1984, we worked together to record the album Deathtopia, which was released in January 1985. After his main group, BOOWY, disbanded, Hotei decided to pursue a solo career. His first solo album, GUITARYTHM, was released in October 1988. Interestingly, many people noticed that the sound of GUITARYTHM was very similar to what Hotei had been doing with AUTO-MOD. It was as if he was trying to recreate the group dynamic in his solo work. This observation highlighted the significant influence that being part of AUTO-MOD had on Hotei’s musical style and approach. The diverse genres and styles that each member brought to AUTO-MOD enriched our collective musical experience. We all influence one another and that’s the reason why I like to think of AUTO-MOD as a collective effort.
––Why did Hotei leave?
GENET: He was too busy with his own band, BOOWY. Anyway, the formation of AUTO-MOD was quite organic. When I met Hotei and Makoto at the Tsubaki House, we didn’t have a preconceived plan to form a band. It was Hotei’s offer to play guitar and bring Makoto along as a drummer that led to the creation of AUTO-MOD. Our approach to music was also very spontaneous. I had a personal inclination towards punk music, but I didn’t impose this on the rest of the band. I believed that as long as I wrote punk lyrics, the music would naturally have a punk feel to it. This approach allowed each band member to bring their own unique style and influence to the music, which resulted in a sound that was distinctively AUTO-MOD. The recording of our first album, Requiem, was a testament to our indie spirit (laughs). Despite our limited resources, we managed to record the album live at the Shinjuku Loft. This experience was both challenging and rewarding, as it pushed us to deliver our best performance under less than ideal circumstances. Throughout our journey as a band, we never explicitly discussed our musical direction. Instead, we allowed our music to evolve naturally, drawing inspiration from our individual tastes and experiences. This freedom to explore and experiment with different sounds and styles is what made AUTO-MOD’s music so unique and memorable.
––AUTO-MOD has always been different, very difficult to put a label on.
GENET: At the time of the release of our first album, I can confidently say that AUTO-MOD had some technical proficiency that was above many other bands. Typically, punk music is known for its raw, heavy, and intimidating elements. However, we took a different approach by infusing pop elements into our punk music, creating our unique version of punk. While some people might not have initially recognized our music as punk, it was essentially a form of art within the punk genre, not pop. Over time, some people began to understand and appreciate our unique take on punk, while others did not. This diversity in perception was what made our journey so exciting, as we were carving out our own unique style within the punk genre. After Hotei left the band, we further emphasized our unique style in our third album, “Eestania”. While it could be considered Pop due to its catchy melodies, it also had a very experimental side. The album was a blend of different genres, with pop and experimental elements coexisting within it. This duality is a defining characteristic of AUTO-MOD’s music – a mix of pop and something else that’s not easily defined, a series of experiments. Even in our latest album, we continue to explore different styles. While our music has become harder than before, the melodies remain pop-oriented with experimental parts. This is something that will not change, as it is my style. AUTO-MOD’s music is always evolving, but at its core, it remains a blend of pop and experimental elements that push the boundaries of conventional music genres.
––AUTO-MOD released a new album on Halloween, was it on purpose? When we interviewed DER ZIBET a couple of years ago, ISSAY recommended us to interview you if we wanted to know more about goth music in Japan.
GENET: He said that (smiles)? The release of the album on Halloween is purely serendipitous and doesn’t necessarily align me with the goth community. While I respect the goth culture, I find that it lacks the combative spirit and political consciousness that is inherent in punk culture, which I identify more with. From a young age, I’ve been acutely aware of the societal issues that plague our world. The rapid evolution of our society seems to be steering us towards a dystopian future, reminiscent of George Orwell’s 1984. This realization sparked my identification as a punk, and inspired the title of our third album, Eestasia – a nod to Eastasia, one of the three perpetually warring regions in Orwell’s dystopian world. Our latest album, AUTO-MOD, is the epitome of what AUTO-MOD stands for. It is a culmination of all the elements I’ve wanted to incorporate into our music for a long time. It blends progressive music with a hint of violence, a dash of pop, and a touch of gothic influence. While the gothic sound might be evident, it doesn’t reflect in our ideology. However, I believe that this gothic influence was necessary to fully realize the AUTO-MOD vision. It’s a recognition of the gothic elements that exist in the world – the satanic, the absurd, and the disturbing.
—— I think there’s some truth to that. Punk culture has always been closely tied to politics and societal issues. It’s about challenging the status quo, fighting against injustice, and advocating for change. Punks often express their views and beliefs through their music, fashion, and lifestyle. On the other hand, goth culture tends to focus more on introspection and individualism. It’s about exploring the darker aspects of human nature and the mysteries of the universe. Goths often express their innermost thoughts and feelings through their music, art, and fashion. But, it’s important to note that these are generalizations and there’s a lot of overlap between the two cultures.
Your lyrics often use religious imagery and references. What you think of religion?
GENET: While I believe that religions in their purest form are inherently good, it’s the manipulation and misuse of these beliefs by those in power that I find disheartening. The intersection of religion and politics often leads to catastrophic outcomes. From a young age, I’ve been captivated by the world of religion and spirituality. Perhaps it began with my fascination with Christ, a hint of my inner hippie, perhaps. But I was equally drawn to the darker side, to films like “The Exorcist”. Both Catholicism and occultism have played significant roles in shaping my worldview. As a child, I found both to be incredibly thrilling and intriguing. My interests span across spirituality, the occult, the gothic movement, and many other areas, barring perhaps aliens and the Loch Ness monster. I’ve always been attracted to the mysterious and the unknown. At the core of it all, I have a deep love for spirituality. However, in today’s world, religion has been weaponized for political gain, causing immense harm. I don’t believe this was the divine intention. I find the human distortion of religion deeply troubling. As for my personal beliefs, I was born into Shintoism, a religion that’s difficult to define due to its lack of rigid rules. In Shintoism, we have the freedom to worship a multitude of gods. If we enjoy a good drink, we express gratitude to the god of alcohol. If we find comfort in a warm blanket, we thank the god of clothing. This is the essence of Shintoism in Japan, a form of animism. Are you religious? What image do you have of God?
—— I believe Mother Nature is God. In our quest for dominance and control, we have attempted to subjugate nature, creating a God figure in the image of man. This, I believe, is a reflection of our desire to assert human superiority over all other forms of life. However, I view God as synonymous with Nature, and I firmly believe that Nature will eventually reclaim its rightful place, reminding us of our true status as part of the natural world, not above it. We are, at our core, animals. By denying this fundamental aspect of our existence and striving to separate ourselves from our animalistic nature, we are contributing to the destruction of our planet. The tools we use for this destruction are capitalism and patriarchy, systems that prioritize profit and male dominance over the well-being of our planet and its diverse inhabitants.
GENET: It’s pretty much Shintoism. Shintoism focuses on the worship of kami, which are spirits or deities believed to inhabit natural elements, objects, and ancestors. It is a polytheistic religion that emphasizes the connection between humans and the natural world. Shinto rituals and practices often involve purification, offerings, and prayers at shrines. It also places importance on maintaining harmony and balance in society and nature. Shintoism does not have a centralized religious authority and is deeply ingrained in Japanese culture and traditions. Japan, while often associated with Shintoism and its shrines, is a melting pot of various cultures. This includes ancient influences from Jewish immigrants who, instead of renouncing their faith, seemingly adopted the same God as the Japanese. This cultural blend is evident in the over 2000 Japanese words that are derived directly from Hebrew, surpassing the number of words of Chinese or Korean origin. For instance, the term “Hakkeyoi”, used by sumo referees, is a word of Hebrew origin. Even more intriguing is the Japanese national anthem, “Kimi ga Yo”. When transcribed in ancient Hebrew, it bears a striking resemblance to Japanese. These similarities, such as the anthem’s resemblance to ancient Hebrew and the numerous words of Hebrew origin, are, in my opinion, not mere coincidences. It’s evident that Jewish immigrants in Japan did not form separate communities but rather assimilated into the local population.
—— I didn’t know that. But I think believing in Mother Nature is a broader concept that often refers to the belief in a personified force or spirit that embodies the natural world as a whole. It’s more general reverence for nature and the environment. They are not exactly the same but there are some similarities. What would be a utopian society?
GENET: In my youth, I painted a picture of utopia as a hippie haven, a world steeped in peace and love. But as I journeyed through life, I discovered the unsettling truth that this movement was a creation of the CIA, intricately tied to the proliferation of drugs, particularly LSD. The world, during the hippie movement, was not as idyllic as it appeared. Even John Lennon, a beacon of peace and love, met a tragic end because he dared to dream of a better world. Does an ideal world exist beyond the realm of dreams? Perhaps such a world could thrive under the guidance of a benevolent leader, a king, or a figure of authority. But their reign should be marked by a commitment to the greater good, not a penchant for chaos or discord. They would need to bear the burden of public discontent with grace. However, more often than not, those who don the crown are far from virtuous. In my view, a world without a leader is a world teetering on the brink of anarchy. The world can never be considered completely safe, but that doesn’t mean we should have a leader with evil intentions. It saddens me to think about why a leader with a good heart is unable to govern people.
——Going back to the topic of goth music, in 2003, you took over the production of the Tokyo Dark Castle event, which is centered around goth industrial. Can you tell us more about this episode?
GENET: Tokyo Dark Castle, originally known as Tokyo goth and darkwave, was an event that I started producing. The idea of this gothic event was proposed by an American, who was in a band called Secret Secret. He wanted to perform with me. Eventually, I agreed, and I was amazed by the number of people it attracted. Before Tokyo Dark Castle, there were other events in the gothic scene, such as Black Veil in Osaka, organized by DJ Taiki. However, these events were primarily DJ nights. In Tokyo, there was Eve of New Church, which was the first gothic event in the city. They invited me to participate as a gothic DJ, but since I wasn’t gothic and didn’t know how to DJ, I declined (laughs). With Tokyo Dark Castle, I wanted to bring together both bands and DJs for a more diverse and engaging event. The format would typically include a music group performing, followed by a DJ set, and then another band, and so on. I continued organizing Tokyo Dark Castle for 20 years. From 2015 to 2018, we held the event in a church-like club called Kriston Cafe. I wanted to create the best event for the Goth community. I wanted to make them happy. I wanted to make them dance. I stopped participating in these events about a year ago and passed the responsibility to someone younger. The event has become more modest since then.
——20 years, that’s a long time. I bet you have tons of funny stories to share.
GENET: It was during this time that I crossed paths with Kyo (DIR EN GREY/sukekiyo/Petit Brabancon). Kyo had visited the Tokyo Dark Castle for a couple of years before the corona pandemic hit. His initial visit, however, is not a memory I look back on with fondness. I didn’t want him to think of me as a nightclub producer. I knew he loved AUTO-MOD. I wanted him to think of me as the vocalist of AUTO-MOD and not nightclub event organizer. I didn’t want to disappoint him. I respect Kyo as a singer. He’s the best underground vocalist, dark vocalist, around in Japan right now. I wanted to leave a good impression. I wasn’t confident in the music I was doing at the time, when he came to the club. Kyo may have believed that the person I was when we met, wasn’t that good. Perhaps he thought that he himself had surpassed me. In order to prove Kyo wrong, I wanted to showcase the talent of AUTO-MOD, you know what I mean… I felt such a relief last year. After listening to our new album, Kyo was full of praise, declaring it the best album AUTO-MOD had ever produced. It was such a relief. I had shared the tracks with him before the CDs were even pressed, and his reaction was overwhelmingly positive. He said: “saikou” (ed. “awesome” in Japanese). This new album is a true representation of what AUTO-MOD stands for so I am very happy that he liked it. Unfortunately, after that, I didn’t have many opportunities to interact with Kyo as I wasn’t approached for further collaborations. Our connection began to form around 2013 when he invited me to perform live with his band sukekiyo. Regrettably, due to my busy schedule at the time, I had to decline the offer. It was a missed opportunity that I still think about. Later on, I was approached to direct a promotional video for sukekiyo. We even had a meeting to discuss the project, but for reasons unknown, the staff didn’t follow up, and the project never came to fruition. Despite these missed opportunities, I did have the chance to attend several of sukekiyo’s live performances, which were truly incredible experiences.
——That’s unfortunate… It happened to me too. But, Kyo is a stage beast, he has such a strong charisma.
How about you, what can you tell us more about the new album?
GENET: When it comes to the new album, it truly embodies the essence and identity of AUTO-MOD. It has brought me a level of satisfaction that I have never experienced before with any other album. This album represents everything I have always aspired to create, and I am incredibly proud of it. Until two years ago, I only played one chord on a guitar. I would strum it, but only to produce loud sounds. You know, I have been consumed by the idea of putting AUTO-MOD on pause, forming a noise punk band, and creating wild and chaotic sounds on the piano and guitar, resembling the revving of a chainsaw. While I am not particularly skilled at playing traditional melodies on instruments, I have always used the guitar and piano as tools to generate noise and unconventional sounds. However, exactly two years ago, an opportunity arose for Madame Edward, Paidia, Neurotech Doll, and AUTO-MOD to perform together. These four bands are the pillars of Japan’s positive punk movement. Seeing the presence of my old friends and reminiscing about my past experiences with noise punk, I made the decision to revisit and reimagine the music I had created with AUTO-MOD. Since then, I have taken a more serious approach and committed myself to playing the guitar as a proper instrument. I took it upon myself to learn, and I have made significant progress. My bandmates are incredibly talented musicians, far surpassing my own abilities. In a typical situation, one might expect them to be frustrated or resentful. But, the advantage I have is that, as the leader of the band, no one dares to voice any complaints (laughs). That being said, I am fully aware that there is always room for improvement. If I want to avoid making mistakes, I need to continue honing my skills. Being surrounded by such talented individuals has accelerated my growth as a musician.
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Originally, I had planned to hire a real saxophonist to play the saxophone sound on the album. But you know, AUTO-MOD, in the 1980s, consisted of top-tier musicians in Japan. Hotei Tomoyasu (BOOWY), Takahashi Makoto (BOOWY), bassist Watanabe Mitsugu from PERSONZ, and guitarist Tomomori Shoichi from REBECCA, all went on to become successful musicians in their own right. During that time, I had the prvilege of working with Toshiaki Kawano, a talented saxophonist who had previously played with Eikichi Yazawa, one of Japan’s most renowned rock singers. He even spent two and a half years playing with the members of the Doobie Brothers in the United States as part of Yazawa’s backing band. Toshiaki Kawano is my favorite saxophone player, and I was thrilled to have him contribute to the album. Initially, I had planned for Toshiaki to play the saxophone parts on this recording as well. However, he informed me that he doesn’t play as much anymore. Instead, he suggested using a guitar synthesizer to reproduce the sound of the saxophone, similar to what I had been doing on stage. At first, I was unsure about this idea, but Toshiaki patiently guided me through the process. He showed me how the saxophone parts should sound on the piano and recommended duplicating them using a guitar synthesizer. He taught me many valuable techniques, and with just the guitar synthesizer, I was able to achieve the sound I had envisioned. Surprisingly, I was able to replicate the sound of a real saxophone. This approach also applies to other instruments, such as the violin, where the synthesized sound is incredibly realistic. I have always been a fan of synthesizers, but as a singer, it can be challenging to fully express myself while being stuck behind a keyboard. However, with this new guitar synthesizer, I can now play it while singing and moving around, just like many rock singers.
Recently, I purchased the latest Guitar Synthesizer called BOSS GM-800. The response time from playing the strings to producing the sound is almost instantaneous, and the overall sound quality has greatly improved. The guitar synthesizer is not a mere substitute for a keyboard synthesizer but rather opens up new possibilities in the world of music as a completely unique instrument. I believe that the next album will surprise you even more. However, despite acquiring new synthesizers and guitars, I have been extremely busy and haven’t had much time to play them yet.
——Can you tell us more about your guitar synthesizer you brought with you?
GENET: My guitar is a custom model, the GENET skull model (smiles). It is made with a metal body and an aluminum part. The model is called EVO which is is currently being developed and manufactured by the production team at Talbo, an Ikebe musical instrument company. However, the EVO brand is a separate brand from Talbo. Hirasawa Susumu, also uses it (smiles). The guitar has two buttons for integrated audio banks and a separate button that produces a sound similar to gun laser’s sounds common in movies. Although I haven’t used that feature yet. While most people use this guitar model as a regular electric guitar, I primarily use it as a synthesizer. It has a “sustainer” part that allows me to sustain notes indefinitely, which is useful when playing flute sounds, for example. The reason I chose this guitar is that the synthesizer part is very easy to use. Additionally, there is a specific jack underneath for a special cable, which enables me to create all the unique sounds that make AUTO-MOD stand out. Currently, in the band, we do a lot of improvisation. While all the main melodies are already planned, we leave room for improvisation within that structure. This includes myself, as well as the drummer who has a part for improvisation. It adds a dynamic and spontaneous element to our performances.
—— That sounds awesome!
Throughout your long career, what has changed for the better and what has changed for the worst regarding the music industry?
GENET: CD sales have significantly declined. Vinyl records have fallen. I personally miss the era of vinyl because the album covers were larger and had a greater visual impact, which helped with promotion. Over the years, as music formats shifted to compact discs and digital, the visual impact of album covers has decreased. Also, music genres are constantly evolving and changing. They come and go, rise and fall in popularity, and new genres continue to develop over time. Even when a genre declines, it doesn’t necessarily disappear completely. Many genres have a dedicated fan base that continues to appreciate and support the music. Certain genres may experience a resurgence or revival as artists and listeners rediscover and reinterpret their elements in new and innovative ways. Music and its business are dynamic and ever-changing. They can experience periods of decline and development as new styles emerge and old ones evolve. This constant evolution is what keeps the music world vibrant and diverse, offering something for every taste and preference. By the way, here is our new album. The album cover was created by Kazunori Akita, who has been working with us for a long time. After the release of Deathtopia, he has designed all our album covers, as well as some for BUCK TICK.
——Cool.
The band took a break from 1985 to 1997. Can you share what prompted this hiatus and what inspired you to reunite?
GENET: In 1985, when AUTO-MOD broke up, the music industry was in a state where selling CDs and making a big business out of it seemed unlikely. We primarily played in small venues, so I had the idea to have one final concert in a large venue, just once, as a way to go out with a bang. This led to the creation of the “Touki no Souretsu” concert series, which consisted of 13 shows, and then we planned to break up. This decision also aligned with our “positive punk” philosophy. The term “positive punk” was actually coined by Andi Sex Gang, the founder and singer of the band Sex Gang Children. When he toured in Japan and we performed together, we told him that we were a “positive punk” band. He mentioned that it brought back memories because he had invented that expression. During that time, bands like Alien Sex Fiend and The Cult were prominent in the gothic and dark wave scenes. In a German interview, someone asked Andi why he used the term “positive” alongside punk. He explained that while his songs often explored negative themes like death, he liked using the word “positive” because it contrasted with the violent and destructive nature of the emerging punk hardcore movement, represented by bands like Discharge. Similarly, I wanted to create punk music that had a harder rock sound, so I wanted to stand out by calling it “Positive Punk”. After our breakup in 1985, I continued making music by forming various bands. However, I didn’t actually want AUTO-MOD to break up. The decision to disband was set in motion with the 13 concerts of the “Touki no Souretsu” series, and I felt obligated to follow through with it. It was like a promise made to everyone, and I didn’t want to be seen as a liar if we didn’t actually break up. Ironically, during that time, we were experiencing the most success and recognition since our debut. Our goal was to create a grand stage performance with AUTO-MOD, and we even incorporated three theater troupes, including one that I was a part of. In total, there were nearly a hundred people involved. It would be incredibly challenging to recreate such an event today. However, at that time, we were determined to make a significant impact and create an explosive show in the form of rituals. Despite the breakup, I never stopped making music and immersed myself in various projects.
——Do you have any regrets regarding your career?
GENET: I have no regrets in life because I am genuinely happy with where I am today. Every decision I have made, every experience I have had, has shaped me into the person I am now. If I were doing something that didn’t bring me joy or fulfillment, then perhaps I would have regrets when looking back. But that is not the case for me. I am content with the path I have chosen. Even when I think back to the early days of my career, starting from scratch with Hotei and Takahashi Makoto, it was a thrilling and exciting time. The formation of our group during the farewell concert holds a special place in my heart. I remember the talented individuals who were part of our journey, like Tomomori Shouichi on guitar, Watanabe Mitsugu from PERSONZ on bass, Yazawa Eikichi on backing vocals, Kawano Toshiaki on saxophone, and Asamoto Hirofumi as our producer and keyboardist. Being surrounded by such exceptional people, it’s impossible not to have fond memories. Reflecting on those times, I realize that doing another big live show at Korakuen Hall, while it was amazing in 1985, wouldn’t have the same impact now. The music industry has evolved, and rock groups have found new venues and platforms to showcase their talent. It makes more sense for me to focus on what I am doing today, where I am doing it. Like our recent performance at Takadanobaba’s Club Phase, we have grown and evolved as a group, and we are constantly working on new albums. If there ever came a time when I couldn’t make music or collaborate with other talented artists, then yes, I would feel a sense of sadness. But fortunately, that is not the case. The feedback on our new album has been overwhelmingly positive, and it gives me confidence and reassurance that I am on the right path. Throughout my career, I have had the privilege of working with incredible musicians and artists, and that is something I will always cherish. I have no regrets because I have embraced a positive mindset, even in the face of challenges and uncertainties.
——Talking about incredible artists, you were close to ISSAY (DER ZIBET) and Atsushi Sakurai (BUCK-TICK) who tragically…
GENET: Passed away this year, yes… The first time I crossed paths with ISSAY, he was a young, beautiful man in his early twenties. At that time, I had a reputation for being a bit intimidating due to my involvement in fights and my punk persona. But ISSAY approached me with a timid yet determined demeanor, calling out, “GENET-san, GENET-san”. His style was more aligned with glam rock, reminiscent of David Bowie, which I found intriguing because I had a fondness for that aesthetic. He was beautiful. I don’t know if he was a fan of mine or that we had common friends, but he wanted to meet me before a show. Before ISSAY arrived, someone had warned me: “A young guy is coming to see you, so please don’t bully him. Be gentle!”. I assured them that I would be on my best behavior, and when ISSAY finally arrived, I was pleasantly surprised by his kindness and genuine nature. Despite his more mainstream inclinations, he had a deep appreciation for the punk scene and the music I was creating. ISSAY was not only a musician but also involved in dance and mime. He has talents nobody knows about. His diverse artistic interests added an interesting dynamic to our interactions. Over the years, we had the opportunity to perform together in concerts, often alongside Chuya, whom you know too, creating a unique blend of our individual styles. Reflecting on our collaborations, I can’t help but recall a memorable concert we did at Kichijoji’s ROCK JOINT GB. It was supposed to be a joint performance with the three of us, including ISSAY. The energy and chemistry we shared on stage were electric, and the audience was captivated by our collective presence.
In addition to ISSAY, I also had the pleasure of getting to know Atsushi Sakurai, another talented and kind-hearted individual. Acchan possessed a striking beauty that exuded intensity and allure. His beauty was intense. I remember a conversation with Yagami Toll, also known as Anii, who shared an amusing anecdote about Acchan. When they first arrived in Tokyo from Gunma, they watched AUTO-MOD’s farewell live video together, along with a VHS cassette titled “HISTORY 1980-1985”. This cassette featured footage of AUTO-MOD’s live performances from that period, with my voice-over providing insights and commentary. Anii mentioned that during their viewing session, Atsushi playfully imitated my voice-over. He was a gentle tease. Acchan, like ISSAY, was not particularly talkative, but he had a habit of expressing gratitude frequently. Acchan was more of a listener. He would often say “thank you” or express his happiness and appreciation for various experiences. This genuine and humble nature endeared him to those around him. I remember a drunk Acchan gently hugging me and kissing me on the cheek. I felt butterflies in my stomach. I felt a strange excitement. He had the power to question your identity, you know (laughs). My encounters with ISSAY, and Atsushi left a lasting impression on me. Their kindness, talent, and unique contributions have enriched my journey as a musician. I am grateful for the connections I have made and the memories we have created together.
——Both beautiful and kind, completely agree.
How would you like to be remembered?
GENET: Hum, when considering how I would like to be remembered, the first thing that comes to mind is that I hope people don’t see me as scary (laughs). But more importantly, I want to leave a lasting impression as a member of AUTO-MOD, particularly during our later years. If people were to say, “Wow, AUTO-MOD was an incredible group, especially towards the end,” I think I could die happy at that moment. The current lineup is great. The presence of PAZZ brings strength and some sort of reliability to our performance. He is very respected in the metal and punk scenes, and he is a technical and experimental drummer. After all, he is a member of legendary Gastunk (1983-present) and DOOM (1985-present). Additionally, DEAN, who previously played bass for AION (1983-present), has joined us. While AION leans more towards the visual-kei genre than metal, DEAN’s unique bass playing style adds a fresh and unexpected element to our sound. I have never seen anyone play the bass like him. As for Tak, he is more like our disciple, and I have known him since his high school years. He brings a different energy to the group, balancing out our imposing image with a gentler presence. However, don’t be fooled by his calm demeanor, as he can unleash himself and perform with a maniacal intensity that I find inspiring. I have formed another band. The desire I have to leave my mark on the music industry is also what led me to create AUTO-MOD clas-six, a band that includes more mainstream musicians with a slightly more commercial appeal. Essentially, I wanted to explore a more mainstream sound while still maintaining the dark and provocative lyrics that have been a hallmark of my work. Throughout my career, I have written many lyrics with a dark and intense tone, and this new group allows me to continue that artistic expression while reaching a wider audience.
—— You’re not scary at all!
What is your greatest wish now?
GENET: I have big news: we are releasing another album this year. Yeah, AUTO-MOD will release a new album titled “AUTO-MOD II” on Halloween 2024. I can tell you that it will surpass our previous album (smiles). My greatest wish is to release at least two albums that I am proud of, just like the recent one we put out. I want to continue improving on the guitar, as I have become quite accustomed to performing on stage while singing and playing. I want to continue improving my guitar playing. I am also very much looking forward to playing my new synthesizer. Initially, I thought I was terrible, but I pushed myself and persisted. I’m grateful to have such great bandmates who supported me. Two years ago, I experienced a tremendous shock when my wife passed away. Music became my solace, and it gave me the strength to keep going. I composed a demo tape, and thanks to my current band members, I found the motivation to get back up. If I had the same dedication when my wife was alive, our family might have fallen apart. I really did the impossible with this album. Now, music is all I think about. Playing with the members of AUTO-MOD clas-six, who I hadn’t played with in years, has been a great experience. We get along well, and it’s all very pleasant. I have a 31-year-old daughter who will become a mother soon, making me a grandfather. It’s a privilege to grow old and reach this point in life. I am happy where I am now. My wish is to continue creating music for my friends in the music industry who passed away last year. I am determined to carry on with this passion until the very end, just like they did.
——My condolences to you… What a year…
I am sure you’ll be a super cool grandpa.
Wish you the best.
__________________
Mandah FRÉNOT
(c) VMJ
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Photography by Yoann CLOCHON
