deadman has risen from the ashes and is excited to shed light on the darkness that plagues our world. The band has been resurrected, embodying the notion that what doesn’t destroy us only makes us stronger. Here, they embrace their true identity with no shame and share their unapologetic perspectives on life and society.
After the disbanding of the band kein, guitarist aie and vocalist Mako came together to form deadman in 2000. With their melancholic lyrical themes, distinctive looks and alternative rock sound, deadman quickly gained recognition. After their disbanding in 2006, Mako and aie reunited in 2019 and released reworked albums. On March 30th (2024) they released their first original album, Genealogie der Moral, in 19 years! Alongside, the band unveiled a retake album titled living hell, exclusively available at live-venues and through online orders. The new album Genealogie der Moral, drawing its title from Nietzsche’s work On the Genealogy of Morality, comprised 10 tracks, including eight new compositions and previously distributed tracks, rabid dog and Neko to Buranketto, Yorisoi Meguriau Ubugoe. In a comprehensive and fun interview, Mako (Vo) and aie (G) delve into the essence of deadman, reflecting on its unchanged essence over the past 20 years while exploring the unique advancements brought forth by the current lineup of the four members.
—— After kein disbanded, you formed deadman. You resumed activities with both bands in 2019 (deadman) and 2022 (kein). Can you explain your decision to keep both bands going?
aie: The inception of deadman predates our decision to reform Kein by a couple of years. Initially, when we were putting together deadman, it was a collaborative effort involving Mako and myself, Merry’s Tetsu-kun on bass, and Lynch’s Asanao on drums. At the time, we deliberated between pursuing something entirely new with this lineup or continuing with deadman. Ultimately, we opted for deadman, marking the beginning of a new era for the band. We thought we would cease our activities again after a year, dissolve deadman properly to give us closure, but eventually we didn’t want to stop. Fast forward to post-pandemic times, after a year of deadman’s active engagement, when deadman and Lynch collaborated for a two-man event. It was during this period that I reconnected with Reo-san (lynch) and our conversation reignited memories of kein. Reo expressed a desire to revisit kein, mentioning that he had a clear vision for its revival. This rekindled interest in kein was met with enthusiasm from Mako and me. We saw no reason to decline the opportunity, but rather embraced the idea of having multiple avenues of creative expression. After all, variety is the spice of life, and the prospect of engaging in both projects simultaneously seemed not only feasible but also enriching. It’s just a lot of fun (smiles).
—— How do these two bands differ and are they connected in any way?
What unique aspects do each of them provide for you?
Mako: Oh… I wonder (laughs)!
aie: We haven’t really thought about it consciously, but there’s definitely a subtle difference in vibe. To put it simply, in kein, there are two composers, Reo and Yukino, and I’ve always felt more like a guitarist joining in. If I had joined kein as a composer, it would sound like deadman. That’s why I participate more as a player. While I give my all to both bands, in terms of artistic expression, deadman feels more aligned with my personal style. Perhaps it’s because kein is essentially revisiting music from 20 years ago, so we’re not really breaking new ground. But, when we completed this latest album with deadman, I couldn’t help but notice it’s different from the kein album we released last year, although it wasn’t a conscious decision.
Mako: I see. Um, for me, kein represents my roots, the starting point. When we were doing kein, I envisioned continuing with that band forever. But when that didn’t materialize and we started deadman, it allowed me to explore new avenues. The band deadman enables me to authentically recreate the music I used to listen to in the past. At that time, I was packing in all the songs I grew up with into deadman, so in a way, deadman feels like my true musical home. Even though the two bands are completely different when you compare them as a whole, that contrast is what makes it exciting and invigorating for me. Keeping the 2 bands active is, as aie said, fun and enriching.
——What motivated the decision to remake previous albums instead of creating new music directly?
aie: With the onset of the coronavirus, live performances became impossible, and although we had initially contemplated calling it quits, we decided to extend for another year or so. At that time, we weren’t really thinking about creating new songs because we were still operating under the assumption that it would all eventually come to an end. Instead, we focused on the idea of re-recording past tracks with our current skills and experience from the past 19 or 20 years. Some of our older recordings left us feeling a bit unsatisfied, whether due to technical aspects or other reasons, so we wanted to do them justice. We decided to involve our fan club members by having them choose which songs to prioritize through a sort of popularity vote or ranking system. From there, we made our selections. It was an enjoyable process, and there was a sense of happiness throughout.
—— How has the hiatus impacted your approach to music creation?
Mako: This is something that feels more comfortable expressing now, as it’s become clearer with time. The global situation has become more transparent, making it easier to understand the challenges we face and the answers we seek. The modern world isn’t a happy place. Ultimately, there are significant challenges we’re facing, and there are individuals who are contributing to this turmoil. We, the people, are united by common struggles. John Lennon once mentioned about the presence of troubling individuals in our world, madmen, which has become more apparent. I believe we’re reaching a point where we can comprehend these complexities more deeply. Considering recent events, like the unfortunate assassinations of figures like Lennon and Kennedy, and recognizing those who may be manipulating current events, it’s become essential to address these issues thoughtfully in our lyrics and music. Acknowledging those who may be intentionally influencing these situations, it’s heartening to see society becoming increasingly aware. Our governments are madmen. Some actions and policies enacted by those in power are irrational, harmful and detrimental to society. The decisions made by government officials are sometimes reckless, unjust, or even oppressive. I believe that governments prioritize their own interests or agendas over the well-being of their citizens, or that they engage in actions that are morally questionable or ethically dubious. And, I felt it was an opportune time to explore these themes through the lens of deadman. I hope I won’t get into trouble for speaking the truth (laughs)…
aie: For me, I think that between deadman’s initial seperation in 2006 and its revival in 2019, my skills as a musician had significantly improved, and I believe this has had the most influence on the current state of deadman. This includes not only my playing skills but also my overall approach to music. While we’re essentially doing the same thing, I feel like we’re doing it in a way that properly updates the original deadman sound from back then. We are just all more skilled and have a better understanding of the world around us.
—— Growing older makes you see life clearer.
Mako, can you tell me how aie improved?
Mako: Well, I don’t want to sound condescending and overly grandiose by saying that aie has grown though he obviously did. He was already impressive back then, but now, he has truly come into his own. His stance and presence have become more defined and established, which has only added to his cool factor. That’s the impression I get.
—— You don’t sound condescending at all.
aie, can you tell me how Mako changed or improved?
aie: The difference now is, how do I put it… He is not trying to be 100% performative anymore. Mako is now able to laugh at himself. And it’s okay to laugh, it feels like we’re enjoying the music more, all of us. If it wasn’t enjoyable, we’d probably quit. Now, even if someone makes a mistake during a performance, we all end up laughing about it. The dynamic among the four of us has definitely changed from before. Mako is more laid-back. We have become less concerned about trying to appear cool. We are all more mature. Back in 2006, we were still young, both in age and in spirit. Somehow, now it feels like we have more composure, and in a good way, I think we’ve succeeded in becoming a more mature band.
—— Laughing at yourself is definitely a sign of maturity.
Can you tell us more about the new album? How would you describe it?
Mako: I wanted to break free from the constraints of the Visual-Kei genre, where there are certain expectations about how things should be done. I wanted to focus more on the music itself, as a form of expression. Personally, and I believe the other members feel the same way, we each have our favorite bands, and we want to create music that we’re not ashamed of, music that we can stand behind confidently. We strive to craft music that we can wholeheartedly embrace and feel proud of, music that reflects our genuine artistic expression without compromise.
—— I see. Could you elaborate on the matter?
aie: For example, let’s say, hypothetically, if I really liked Nirvana, then maybe I would approach playing the guitar in a way that would be recognizable to listeners as being similar to Kurt Cobain’s style—not as an homage, but more like trying to get close enough to it that people could understand it. So, for us, there’s this band called BUCK-TICK that we really liked. If someone who likes BUCK-TICK listens to our music and realizes that we’re influenced by them, it wouldn’t bother us at all. We approach it with respect and homage, interpreting music in our own way. It’s something that only music lovers can do, and we enjoy making music that way. Free of limitations in the way we make it. This album has a lot of that, a lot of influences. It’s reminiscent of our past but with our current skills. With this album, we were trying to express the music we loved back when we were teenagers in the way we perceive it as grown men. So, while there’s a chance that people in the mainstream music scene might not particularly like our music, what’s more important to us is that we’re doing what we love and having fun with it. If people enjoy it, that’s just the icing on the cake.
—— BUCK-TICK is a majestic source of inspiration. What are the other favorite bands of yours?
Mako: I don’t really approach music with the mindset of having a favorite band. I don’t listen to music in that way. Instead, I appreciate individual songs from different bands. So, it’s challenging for me to pinpoint which band I like the most or to rank them in that manner. In a sense, I find something to enjoy in every band’s music.
aie: Well, narrowing it down to just one favorite is quite difficult, but during the creation of this album, I had the opportunity to attend a live performance by Aurora, a talented female singer from Norway. Her show probably prompted me to explore new approaches to music. And then, there’s RED HOT CHILI PEPPERS—I’ve been a steadfast fan of RED HOT CHILI PEPPERS for nearly two decades, consistently enjoying their music just as much as I did twenty years ago. And, there’s been an influx of cool artists emerging lately. BTS, for example, is a cool band.
Mako: For this album, there’s a bit of influence from artists like Screamin’ Jay Hawkins, Nina Simone and early James Brown. I’ve been listening to them a lot lately and I probably tried to incorporate some of that vibe into the album.
—— These are great artists. Your musical influences encompass a wide spectrum of bands and artists.
Are there noticeable shifts in the way you make music?
Mako: While the core elements we possess have likely remained unchanged, the most substantial shifts have occurred in the realm of music recording technology and the evolution of recording environments over the past two decades. Additionally, our development as musicians and the enhancement of our skills stand out as significant changes. The recording methods we employ today differ from those of the past, offering a wealth of new and exciting possibilities. Indeed, the transformations in our working environment have been profound. In the past, it was rare for each individual to have their own computer, marking a notable shift in our approach.
——Technology has changed a lot in 20 years.
Can you share your favorite track from the new album?
aie: Well, this is difficult. The whole album is my favorite song. But we just released the single Shizukana Kuchizuke and I think, it’s worth listening to.
Mako: It’s up to the audience to decide…
—— Why was this song chosen as the single?
aie: Considering that we’re producing a music video for this single, I believed it should be a track that resonates well with new listeners and a broader audience. It encapsulates the dual facets of deadman’s music—both chaotic and beautiful. It leans more towards the latter end of the spectrum. But, when listeners delve further into deadman’s music for the first time, they’ll encounter the mischievous side of the band with the opening, in the cabinet. It’s akin to beckoning someone to join us while leading them into a labyrinth of intrigue.
—— I see. So, any standout or special track for you personally?
aie: We haven’t performed it live yet, so it might change once the tour starts and ends. But for now, I’d say it’s probably Mitsubachi. Mitsubachi embodies the essence of deadman as a band, both in its sound and message. Listening to this song, you’ll either love it or hate it instantly.
—— What’s the message behind it?
aie: As Mako-san mentioned earlier, the album revolves around the theme of identifying the true villains in the world. It’s a topic we’ve discussed extensively among the four of us, often over drinks. It encompasses discussions about global issues such as politics, climate change, and more. While the lyrics were written by Mako, Asanao, Kazu, and I are all aligned in the same direction. So, while it may not be the catchiest, Mitsubachi resonates the most with our band’s identity.
—— And what about you, Mako, do you have a favorite track?
Mako: Rather than having a favorite, it’s more about the song that I believe represents us the most. The song that I feel best encapsulates the essence of our band, Mitsubachi stands out as the quintessential representation of deadman’s identity. Its lyrics, melodies, and overall sound embody the core values and artistic direction that define our collective musical vision. If we were to pinpoint one track that truly embodies the spirit of deadman, it would undoubtedly be Mitsubachi.
—— What inspired the decision to choose the title Genealogie der Moral for the new album, considering its connection to Friedrich Nietzsche’s work on the origins of moral values?
Mako: Well, Nietzsche’s investigation into the genealogy of morality explores the complexities of individual perceptions and societal constructs. It illuminates the subjective nature of morality, illustrating how moral values can vary greatly from person to person and from one culture to another. Morality is not universal but rather highly personal, with individual perceptions varying significantly. Morality is personal. This concept challenges the idea of a universal moral code and underscores the significance of individual autonomy in moral decision-making. Nietzsche’s exploration resonates with me personally, as it suggests that morality is not inherently universal. While society may uphold certain norms as moral standards, the interpretation of morality varies among individuals and nations. When morality becomes a communal concept, it risks losing its inherent individuality, resulting in discrepancies and disparities in moral beliefs among people. Despite fundamental similarities, each person’s moral compass ultimately takes a unique course. I believe that morality is more of an individual choice rather than a rigid doctrine or flawless religion. If morality were perfect, it would be uniformly embraced by all. However, religions exhibit vast differences, dietary practices diverge, and individuals endure various forms of suffering. While some may justify war as just, the act of taking a life can never truly be righteous. I find resonance with Nietzsche’s philosophy, and through our album, we endeavored to explore morality from diverse perspectives. After synthesizing these viewpoints, we found that the title Genealogie der Moral suited it best. With this album, we aim to delve into these profound philosophical questions and present a nuanced exploration of morality. By incorporating a range of perspectives and thought-provoking themes, we hope to stimulate introspection and foster dialogue about the nature of morality in today’s world.
—— True. Do you think there are limits to morality and ethics?
Mako: Yes, absolutely. I believe there are limits to morality. Even if one asserts that something is right, it may not appear just or moral to others. Misalignments occur there, you see. The limit of morality is a complex topic because it involves considerations of cultural norms, personal beliefs, societal expectations, and ethical principles. Generally, morality sets boundaries for behavior by defining what is considered right or wrong, good or bad, in a given context. But, these boundaries can vary depending on individual perspectives, cultural values, and situational factors.
aie: I agree. Rules and definitions of what’s right or wrong vary from person to person. Morality and ethics are influenced by individual perspectives and environmental factors, so there isn’t a single universal answer. For instance, in Japan, there’s a plethora of gods, whereas the conversation might shift in America. Therefore, morality should adapt to the nuances of different places and individuals to avoid making erroneous judgments. This is a viewpoint I’ve often discussed with Mako and the others, and I believe the band members share similar sentiments.
—— I agree with you.
In German, “kein” means “none” or “not any” and “deadman” carries dark connotations. It appears that darkness is a recurring theme for you. Could you elaborate on why this theme inspires you?
Mako: Certainly, I believe it’s because our music reflects the harsh realities of life. Many individuals resonate with our music because it speaks to their own experiences, which are often filled with struggles and pain. Consequently, our music naturally takes on a darker tone as we express these emotions through deadman. While our music may not necessarily appeal to those who are content and happy, it serves as a medium to connect with and support those who are navigating through the depths of darkness and hardship. That’s why our music tends to embody that essence.
aie: I think our music reflects the hardships of reality.
—— I read that it was hard for you Mako to sing deadman’s songs due to their dark and personal nature, and since you didn’t want to get trapped in your trauma, you preferred quitting. Why do you believe now is the right time to revive the band, particularly considering your past struggles and the mental toll?
Mako: Now, I find myself able to discuss it with a smile on my face. But, digging into those experiences deeply, well… Not every detail needs to be revealed, does it? Personal struggles or traumatic events—it’s like, yes, they may have occurred, but there’s no obligation to share them with everyone. Life can be intense, right? While I haven’t entirely overcome those challenges, I feel like I can touch the matter, discuss it on the surface, with a smile. It has become less of a burden to sing my past traumas.
—— I am very happy to hear about your healing progress.
Can you elaborate on the current lineup? What do you like best about working with Kazu and Asanao?
aie: I’d say the most crucial aspect is our strong bond as a foursome. It wasn’t a deliberate effort; rather, we cultivated an environment where we naturally gravitated towards each other. we’ve fostered a laid-back atmosphere, and everyone has embraced it. Also, over the past 10 or 20 years, I have seen various musicians and I noticed that those with good camaraderie made better music. I have always felt that bands thrive when there’s genuine friendship. Asanao and Kazu also appreciate this dynamic, and at this point in our lives, we’re past the need to put on airs, we don’t need to appear cool– it’s more about embracing our belated youth, enjoying nights out drinking until dawn (smiles).
Mako: Also, I think that everyone has great skills when it comes to playing.
aie: Absolutely, it’s a given.
Mako: Well, that’s definitely an advantage. You know, I believe everyone has their own set of flaws, but strangely enough, I quite enjoy those flaws. They add an interesting dynamic.
aie: That’s so true.
Mako: It’s not about saying: “This person is bad at this” but more like: “Isn’t it amusing how this person’s quirks shine through?”
aie: Absolutely. All four of us have our quirks. Kazu may seem composed and calm, but trust me he’s far, far from it (laughs). Perhaps that’s what adds to the charm.
Mako: He doesn’t easily get angry or upset; he’s just naturally entertaining.
aie: It’s quite amusing, isn’t it?
—— You have my undivided attention! Tell me more. Can you share a story?
aie: Oh, I can’t divulge those (laughs). Let’s say, we are all c-r-a-z-y. They’re all tales I can’t tell. And those stories shouldn’t be written about (laughs). Crazy, crazy (looks at Mako)
Mako: Better not (laughs)…
——OK… Well then, any goals or wishes for deadman?
aie: We haven’t actively planned anything new, and we’re not envisioning an endpoint just yet. But in terms of goals, I’d say our aim is ultimately a happy ending. While some may have perceived a sad conclusion back in 2006, if there’s another conclusion ahead, I hope it’s a joyful one. You know, something along the lines of “It’s alright to smile, it’s alright to watch, and then it’s alright to bid farewell.
Mako: If indeed it does conclude.
—— You’re serving me with beautiful answers.
To conclude the interview, let’s play a game related to the theme of morality, similar to your album title.
Honesty vs. Kindness: Would you rather always speak the truth, even if it hurts, or always be kind, even if it means withholding the truth?
aie: Kindness, probably.
Mako: Yes, kindness.
aie: There are some truths that we should remain untold.
—— Forgiveness vs. Revenge: Would you rather always forgive those who wrong you, even if it’s difficult, or always seek revenge for any wrongdoing, even if it perpetuates a cycle of conflict?
aie: Even if I can’t picture someone causing me such harm, forgiving them might bring me peace of mind emotionally. But if I were ever in a situation where seeking revenge felt unavoidable, I might just go for it. Guess I won’t know until it happens.
Mako: Is it just a A or B question? Uh, for me, I wouldn’t forgive. But I also don’t think I’d seek revenge.
—— Would you let Karma do the job?
Mako: Hmm, not sure. It depends on the situation.
aie: For example, if someone stole my dog, I’d definitely go after the dog. I wouldn’t care about the thief. As long as the dog comes back.
Mako: What if the dog is already dead?
aie: Oh, well (laughs). It’s like that scene in the movie Seven. What would you do if you were in Brad Pitt’s shoes at the end. The very last scene of Seven.
Mako: I’d do it.
—— That’s probably what everybody wanted him to do.
aie: Yeah, right? Well, it’s complicated. You wouldn’t understand until you’re in that situation.
—— Justice vs. Mercy: Would you rather always prioritize fairness and justice, even if it seems harsh, or always show mercy and compassion, even if it means being lenient?
aie: Isn’t it better to show mercy?
Mako: Hmm, even when dealing with criminals? The question includes all types of people including criminals, right?
aie: Is it about meting out justice with an iron fist? Or extending a second chance? Take, for instance, in this manga I read, JoJo’s Bizarre Adventure, there’s this character, President Valentine, whose notion of justice isn’t necessarily the common one. He doesn’t believe he’s wrong, and he doesn’t come off as your typical villain. He might be veering off course, but then everyone’s conception of justice collides. Once it escalates into a war, the definition of justice shifts too.
Mako: It becomes bewildering then.
aie: Maybe there isn’t just one definitive answer after all.
Mako: It boils down to coexistence and balance. It’s preferable to simply refrain from involvement. The key is to keep away from trouble.
aie: I can’t choose between A or B.
Mako: A real dilemma. I choose C (laughs).
aie: Indeed (laughs). So, let’s go back to my dog, right? If my kidnapped dog were, in the end, killed, how would I react?
Mako: Ideally, you shouldn’t resort to killing.
aie: It’s more about seeking revenge.
Mako: And it’s about to ensure they won’t repeat their actions. Justice needs to be served.
aie: I wouldn’t resort to killing, but I’d ensure they won’t ever be able to walk again (laughs).
Mako: You’re becoming scary (laughs).
aie: And you know what’s the scariest part? I don’t even have a dog (everybody bursts into laughter).
Mako: I think, I wouldn’t extend mercy. But I wouldn’t wield the hammer of justice either, I suppose. It really depends on so many factors.
—— Now I understand the c-r-a-z-y (laughs).
Do you have a message for your overseas fans?
aie: Well, nowadays, with the widespread use of the internet, it’s become easier to connect with fans worldwide through screens. You can even listen to music on Apple Music on release days, which sparks interest, making it more accessible, even to those who have been fans for a long time. There’s a possibility it feels more familiar now compared to before. Also, I don’t know when this interview will be published, but with the yen being weaker, it’s a good time to visit Japan! You might even make it in time for our tour final on June 1st, so we’re looking forward to welcoming you to Japan!
—— Mako, anything else?
Mako: Um, please be kind to each other. Thank you very much for your support.
—— Thank you both, it was a very nice chat.
__________________
Mandah FRÉNOT
(c) VMJ
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