dieS brings EMBRYO to life: a post-pandemic resurrection rooted in analog sound influenced by legends like BOØWY, BUCK-TICK & SOFT BALLET
dieS is an alternative goth band formed in 2005 in Japan. The band originally consisted of two core members, Dai Arase and Ryo Sakakura, but in 2017, Ryo left the group. The band’s last album featuring both core members was SOUND MASTURBATION, released in 2015. Following Ryo’s departure, dieS resumed activities in 2018 but faced challenges, including the global pandemic in 2020, which significantly impacted Dai’s creative process. During this time, Dai focused on songwriting and introspection, leading to a renewed sense of purpose and direction. As a result, dieS’ latest album, EMBRYO, serves as both a conclusion to their earlier works and a fresh start. It reimagines and fully realizes songs from past releases while introducing new material that reflects the band’s evolution. In this interview, Dai Arase, the mastermind behind dieS, delves into his new chapter being written with the release of EMBRYO.
——It’s been nearly nine years since your last full-length album. What made EMBRYO the right album to release now, and how has the time between albums influenced its creation?
Dai Arase: Our last album, SOUND MASTURBATION, was released in 2015 when dieS still consisted of two original members. However, in 2017, Ryo Sakakura left the band, marking a significant turning point for me. After his departure, I took a break from music, but by mid-2018, I decided to resume dieS’ activities. Just as I was finding my footing again, the pandemic hit in 2020, which changed everything for all of us. Surprisingly, though, the slowdown gave me something I hadn’t had in a long time: time. For the first time in years, I had the space to focus solely on creating music. It was an unexpected opportunity to revisit ideas I’d been sitting on and fully develop them. It felt like a floodgate had opened, and all the creative energy I’d been holding back for years finally began to take shape. I realized that this was the right moment to transform that long pause into something meaningful. During this period, I reflected on whether dieS might end after the 2015 album. I had my doubts about whether I could create another one. But the pandemic provided a push—a sense of urgency. It felt like I had no choice but to make this album. The process was steady and deliberate. I started recording little by little, channeling everything I’d been through into the music. By the time it was complete, I knew EMBRYO was more than just a new album—it was a rebirth. It was a long process, but it felt like a natural progression.
——So, welcome back!
EMBRYO features 13 tracks: it includes new songs and re-recorded vocals from past singles. What motivated the decision to revisit these older tracks, and how do the new versions reflect the band’s current sound?
Dai Arase: The songs I chose for this album reflect the current state of the band. I felt it was important to pause and look back at the singles we’ve released since 2015. This time, I wanted to create a release that would resonate with both long-time fans who have supported us since SOUND MASTURBATION and those who discovered us after 2018. The album includes songs that Ryo Sakakura played on. So, the vision for this album was to bridge the present with everything we’ve experienced since the last full-length release. Over the past few years, there have been changes in the band’s lineup, and I wanted this album to serve as a meaningful milestone—something solid that captures where we are now as a group. The flow of the album was also carefully considered. I wanted it to feel like a natural progression. I wanted to tell a story that ties the previous album to this one. My hope is that listeners will sense that the story which began before EMBRYO has now come full circle and reached its conclusion with this release.
——The title EMBRYO suggests themes of birth, rebirth, and new beginnings.
Dai Arase: Exactly. The title EMBRYO was chosen because it conveys the themes of birth, rebirth, and the cyclical nature of life. It’s a reflection of how life begins, ends, and starts over again. There’s something deeply philosophical about that repetition, and I wanted that sense of continuity to come through in the music. When the former member, Ryo, was with me, the last song we worked on together was Gerbera, and it carried those themes of life and death. In this album, Gerbera is placed towards the end, or perhaps second to last, to create a sense of closure. After that, there’s an instrumental track called HEAVEN. This song serves as a transition before we come full circle with embryo. The structure of the album is meant to reflect this cycle. It’s not just the lyrics but also the arrangement and flow of the tracks that tell this story. It would be like a connection between the past and the present, offering a sense of rebirth and new beginnings.
——You seem to be very interested in themes life and death. Could you tell us more about why these concepts resonate with you and how they influenced the album? What inspires you the most when creating?
Dai Arase: A lot of my inspiration comes from everyday life—just walking around, driving, or even moments in the middle of the day can spark something. It’s not tied to a specific time or place anymore. Ideas come when they come, and I just let it flow. Life and death are definitely central themes, especially in this album. During the pandemic, those concepts felt so close—living, dying, and what it all means. That period really made me reflect deeply, and it’s all woven into the music. The state of the world—wars, conflicts, everything happening globally—all of these things affect me in some way or another. So those feelings and tensions were particularly reflected in the music.
——You mentioned the themes of life and death being central to your album, especially during the pandemic. Can you expand on how that period influenced your music?
Dai Arase: The pandemic was a turning point for me, both creatively and personally. Suddenly, life and death weren’t abstract ideas—they were right in front of me. The fragility of life became so tangible. I was all forced to slow down, and that gave me time to reflect on things I might have otherwise overlooked. During that period, I thought a lot about what it means to live fully and what it means to leave something behind when we’re gone. Those thoughts naturally worked their way into my music. For example, the concept of cycles—birth, death, and rebirth—became a big part of this album. That’s why I titled it EMBRYO: it represents both a beginning and a continuation. With everything slowing down, I had more time to sit with my ideas, to really explore emotions I might have rushed through before. It was a rare chance to focus deeply without the usual distractions of daily life. That stillness brought clarity, and I could translate that into the music. Seeing how fragile and unpredictable life is had a huge impact on me. It wasn’t just about fear—it was about understanding what truly matters, appreciating connections, and finding meaning even in difficult times. This album is also deeply connected to that moment in history. I hope it resonates with those who have experienced similar feelings of grief and loss, but also resilience, renewal, and moving forward.
——Musically, would it be accurate to say that EMBRYO carries a gothic-leaning tone with a nostalgic vibe reminiscent of 90s Japanese gothic rock music?
Dai Arase: I’d say you’re correct. I mean, my influences lean heavily toward the gothic side of music and art. In Japan, I was deeply influenced by the band BOØWY—they were my starting point. From there, I naturally gravitated toward bands like BUCK-TICK and SOFT BALLET. Their music and lyrics had a deep impact on me, especially the darker, more introspective themes they explored. Whether it be music, lyrics, or visuals, the gothic undercurrent has always been a central part of my creative identity.
——The phrase in the album booklet:
Gensei
Minna Zainin
Haitoku Idaku
Seimei Hanatsu
Hikari Taiyou
Umareru Seimei
which basically means:
In this world,
We are all sinners,
Embracing immorality.
Life radiates its light.
The sun gives birth
To new life.
——It carries significant meaning in relation to the overall theme of the album.
Dai Arase: Yes, you are right (laughs). The extract is from the song embryo. The first song in the album sets the tone, with the lyrics contemplating birth and existence. The phrase can be interpreted as reflecting on the inherent cycle of life, where everyone inevitably causes harm to each other in some way. It touches on the paradox of life itself, where birth brings forth both joy and suffering. The idea of repeating this cycle—birth, harm, and rebirth—echoes the concept of reincarnation. Throughout the album, this theme of life, death, and repetition of cycles is explored. It suggests that life is a continuous process of creation and destruction, an endless loop where humans are caught. The phrase and the theme are meant to convey this ongoing, repetitive cycle of life and death. I also explore our current way of living in another angle. In one of the songs, titled SEX SLAVE, which explores the current way of life from a different angle, raises questions about procreation, the perpetuation of life, and the necessity of emotions. I have long thought about the social things surrounding reproduction and the doubts about our instinctive behavior.
——Interesting!
What were some of the biggest challenges you faced while creating EMBRYO?
Dai Arase: The pandemic was a major shock that left me feeling like music itself could disappear. It was a time of intense uncertainty, and with everything shutting down, I seriously wondered if the world of entertainment, and especially music, would ever be the same. The challenges I faced—both the pandemic and the band member leaving—were incredibly difficult, but they also sparked something in me. It was a chance to make a new start. In a sense, I felt like I was reborn. It was also a creative opportunity.
——It seems like the pandemic has had a major influence on you.
Dai Arase: To be honest, if the pandemic had not happened, I would have released this album much earlier. That situation seemed to me like the whole entertainment world was about to disappear. If anything, I became more aggressive and even more aggressive in my approach to music than before. I’m pushing my limits, trying new things, and exploring different activities in my work.
——When you started working on the album, what was the biggest change you faced during the creation process compared with the other albums?
Dai Arase: The biggest change was definitely how to communicate the ideas to the other members. When it came to conveying the songs to the other support members, before the pandemic, we would just go into the studio and I’d show them how I wanted things to sound. We would jam together, but when COVID hit, we couldn’t meet in person anymore. So, for the first time, I had to make demos and send them over. That process was a bit more challenging, but it was still effective in getting the ideas across. I was surprised by how easy it was to communicate using these tools. I’m a bit of an analog person, so I had never used things like video calls before. Even things like LINE (the messaging app)—I only started using it after the pandemic. Before that, I never bothered with it. I had no idea how convenient these tools could be. As for music, I used to rely on MiniDiscs for live performances. That was my main setup, and I stuck with it until COVID hit. At that point, I realized I couldn’t keep using MiniDiscs anymore because they were hard to find. Everyone was saying I couldn’t buy them, but I decided to challenge myself and try something new. That’s when I discovered how convenient digital tools were, and it really changed how I worked. I took this opportunity to change to digital tools, especially my cell phone, which also changed in a modern direction. I used to be totally ignorant about technology, but now I am amazed at its capabilities (laughs).
——Technology can be convenient (laughs).
The new album definitely has an old-school vibe, with a distinct sound reminiscent of the 90s. Has technology influenced the way you create music in any way?
Dai Arase: Not particularly. I still stick to my own traditional way of making music. For me, it is important to keep the process consistent and normal. I write songs by communicating the sounds in my head to my supporting members through my own guitar playing and conversations, and when recording, I rent a studio and work with an engineer. That has been my approach from the beginning, and I don’t think it will change fundamentally as technology advances.
——You released your album through your own label SOUND-MASTURBATION. Was it for creative freedom?
Dai Arase: Yes, it is for more creative freedom. When I have everything under my control, I can do what I want without any restrictions, even if there are some difficulties. I can move more freely, and I think that’s the best way for me. I don’t follow trends or fit into a certain mold, I just do things my own way. It is essential that everything is done in a way that reflects my own vision. This freedom allows me to experiment creatively and push myself without being constrained by other people’s expectations. The name is a bit provocative, but it reflects an approach to music that is inspired by soft ballet pieces, and the term SOUND MASTURBATION, although a provocative and metaphorical phrase, is purely my own unconstrained exploration of sound, my own personal exploration of musical trends and expectations, rather than adherence to any particular musical trend or expectation. I would be happy if you could feel with me the blossoming of your own artistic desires, rather than adhering to a particular musical trend or expectation.
——The name was influenced by SOFT BALLET’s song INSTINCT?, right?
Dai Arase: That’s right.
——Do you consider dieS to be a band or a solo project?
Dai Arase: Originally, it was just the two of us, Ryo and me, but even back then, we performed live with supporting members. Now, I’m the only core member left. In a way, you could call dieS a solo project, though it’s not entirely solitary. It’s similar to setups like Marilyn Manson or Trent Reznor with Nine Inch Nails—projects led by a single individual but supported by a group of key collaborators who are deeply involved. For both live performances and recordings, I work with a consistent team of talented individuals who bring their own contributions to the project, making it more than just a one-person endeavor.
——Is there a song on the album that holds a special, personal meaning to you?
Dai Arase: Oh, every track has its own meaning, but the first track, embryo, stands out the most. It symbolizes a new beginning—for myself and for the people I’ve met, as well as those I will meet in the future. It’s about moving forward together from this point on. The post-pandemic world has deeply affected me. The pandemic disrupted the world around us, leaving it in ruins in many ways. While we may no longer be in the same situation, the possibility remains that we could find ourselves back here again. With EMBRYO, I wanted to convey a message of hope: Let’s start the future together.
Did the pandemic have an impact on your writing?
Dai Arase: Yes, definitely. It gave birth to some really strong songs. Once in a Blue is one of those songs. It’s a requiem for those who passed away last year, people who had a huge influence on me. It’s a letter to them.
——Are you referring to the passing of ISSAY (DER ZIBET) and Atsushi Sakurai (BUCK-TICK)?
Dai Arase: Yes, indeed.
——Which song was the most difficult to work on?
Dai Arase: None of the songs were easy, but the most challenging was the first track, embryo, which ended up being the last one we recorded. I deliberately saved it for the end. Even though the framework for the song was already in place, it took a long time to refine it. I wanted to record and sing it last, not just because of the lyrics, but also as a statement—a declaration of what’s to come.
——What about your future with dieS?
Dai Arase: New songs are already taking shape, and I’m eager to turn them into something concrete as soon as possible. Next year marks our 20th anniversary, and even though we’ve just released an album, I already feel the urge to create something new.
——You’re already working on a new album (laughs)?!
Dai Arase: Over the past few years, my perspective has shifted dramatically. Looking back, I realize that before the pandemic, I relied too heavily on my circumstances. I didn’t fully recognize it at the time, but I allowed external factors to influence me too much. Now, my mindset has completely changed. It’s all about taking action—creating and releasing music without hesitation. There’s no longer any room for doubt. I’m focused on working in the opposite direction, consistently putting out new material and staying active.
——That’s a great mindset. Time one of the most valuable things, it shouldn’t be wasted.
Let’s wrap up the interview with a game: tic tac toe. If you win you get a question in related to life, if you lose, you get a question related to sin.
Dai Arase: OK (laughs).
[first round: VMJ wins & dieS loses]
Among the seven deadly sins, which one do you feel resonates with you the most?
Dai Arase: Honestly, I think they all apply to me in some way. If I had to pick one, I would say gluttony. I only eat the same food that I like boldly, but I eat very large quantities of vegetables. Especially cucumbers and cabbage. Every day, 365 days a year.
[second round: VMJ & dieS are even]
[third round: VMJ loses & dieS wins]
——If you could relive a moment in your life, when would it be?
Dai Arase: Honestly, I wouldn’t want to relive anything. Everything that’s happened—good or bad, even the moments I regret or feel ashamed of—has led me to where I am now. There’s nothing I’d go back and change. My focus is on what’s ahead of me not behind me.
——Thank you very much.
Dai Arase: My pleasure, thank you!
__________________
Mandah FRÉNOT
(c) VMJ
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