lynch. | 20 years of evolution without losing their roots
As lynch. celebrates its 20th anniversary, the band looks back on their evolution from raw beginnings to the powerful, intense sound they’ve crafted today. In this exclusive interview, vocalist Hazuki, guitarist Reo, and drummer Asanao share candid insights into their career and how their music has only grown more intense over time. From their early unrefined sound to the refined heaviness that now defines their style, lynch. has never strayed from its core identity. The band reflects on the challenges of re-recording early works: greedy dead souls and underneath the skin, the dynamics within the band, and how they’ve navigated two decades of change while keeping their spirit unscathed.
——lynch. is celebrating its 20th anniversary this year—a major milestone! Looking back on your career, how do you think the band’s music has evolved the most? And as vocalists and musicians, how have you grown over the years?
Hazuki: The album we released 20 years ago, The greedy dead souls, had a very clear-cut approach—intense songs were purely intense, and beautiful songs remained strictly beautiful. There was no real blending of those elements within a single track. Each side of our sound was distinct, giving the album a broad musical range, but the fusion that defines our music today hadn’t developed yet. Listening to it now, I find that contrast really intriguing. Over the years, we’ve naturally evolved, and our ability to combine those extremes within a single song has become one of our biggest strengths.
Reo: When lynch. first started 20 years ago, it was just three of us, Hazuki, Asanao and myself. Then, Yusuke joined, followed by Akinori, and our lineup grew. I’ve always believed that a band is defined by the unique chemistry of its members—the way different musical influences mix and interact to create something greater than the sum of its parts. Compared to our early days as a trio, having five members has given us a much richer, more diverse sound. The addition of new perspectives has shaped the way we write and play, pushing us to explore a wider range of styles and emotions. Looking back, that evolution feels like one of the most defining aspects of our journey.
Asanao: It’s a bit hard to put into words, but when we started 20 years ago as a three-member band, our presence and impact were completely different from what they are now with five members. The band has gained more depth and weight over time. It’s difficult to describe exactly how we’ve changed, but one thing I can say for sure is that our music has only become heavier and more intense as the years have passed. That’s something I can clearly recognize.
——As bands grow older, they often soften their sound. But lynch. has only gotten heavier. Why do you think that is?
Hazuki: Hum, in the early days, we weren’t entirely sure what would make lynch. stand out. But as we kept going, it became clear—our raw intensity, our aggressive, masculine energy—that’s what defines us. At some point, we realized that instead of toning things down, we should double down on what makes us who we are.
——I see.
The re-recordings of greedy dead souls and underneath the skin feel like a return to the old lynch. How did you feel when recording these songs again? Was the recording process easier compared to back then?
Asanao: Back then, when we first recorded these songs, we were working under a lot of constraints—whether it was time, money, or just our overall situation as a band. Everyone was doing their best with what we had. But compared to those days, this time we had much more flexibility and could approach the recording process with a sense of ease. Because of that, we were able to spend more time thinking about how we wanted to shape the songs. That said, we didn’t do any major rearrangements. The original recordings served as the foundation, and we stayed true to them. Any changes we made were very subtle—probably things that most listeners wouldn’t even notice. But for us, there were parts of the songs that we had originally wanted to execute differently but couldn’t due to our limitations at the time. Now, with the experience we’ve gained over the years, we were finally able to bring those ideas to life. In that sense, I feel like we were able to complete something we couldn’t fully achieve back then.
Hazuki: My singing style now is completely different from how I used to sing back then. But if I had just recorded these songs using my current style, I felt like they would have lost something—it would have felt a little empty, like something was missing. So, to make sure that didn’t happen, I actually went back and studied my old vocal approach, especially for shouts. I researched how to sing in a way that was closer to how I originally performed the songs. I was very conscious of not erasing the essence of how these tracks sounded back then. At the same time, there were things I had wanted to do with my vocals at the time but wasn’t skilled enough to pull off. Now, with more experience, I was finally able to achieve those things. It’s kind of like giving these songs the treatment they deserved from the start.
Reo: When we originally recorded these songs, we had absolutely no breathing room. It was tough in every way—physically, mentally, and logistically. But because of that, there was this raw energy that naturally came out—this aggressive, almost battle-like mindset. That kind of intensity is something that tends to fade when you have more comfort and time to work with. This time around, having the chance to re-record these songs actually helped me reconnect with that original, attacking mindset. I was able to tap back into the emotions we had when we first created them, and that was a really valuable experience for me.
——What do GREEDY DEAD SOULS/UNDERNEATH THE SKIN mean to lynch. today? Has your perception of these songs changed compared to when they were first released?
Hazuki: Hmm… especially underneath the skin—looking back, I feel like it’s one of the darkest works in lynch.’s catalog. When I listen to it now, it has such a heavy, almost suffocating atmosphere. Compared to our current sound, which has a clearer, more direct impact, the music from that time feels much murkier, almost like it’s drenched in something. There’s this thick, brooding quality to it that really stands out. It’s interesting because back then, we were still in the process of developing our identity, and you can really hear that raw, unfiltered darkness in these songs.
——While recording these albums, did you have any flashback moments or memories from when you first recorded them in 2005? Did any specific moments stand out?
Asanao: Hum, one memory that stands out is when we were recording sleepy flow. There’s a part where we all hit the cymbals together at the same time, and we just went for it. It was this chaotic, high-energy moment, and we were all hyped, like, “Let’s go ultra!”—just really giving it everything. That kind of excitement and raw energy from back then came rushing back while we were re-recording.
Hazuki: I don’t remember (laughs).
Reo: I do, I do (laughs).
Hazuki: Listening to songs like quarter life and discord number again, I was really struck by how raw and unrestrained my vocals were. Back then, there were parts where I wasn’t even following the rhythm—I was just screaming in a way that sounded more like someone crying out in pure emotion. That’s not something I do in my singing anymore, so hearing it again was almost shocking. I thought, “Wow, I really used to let everything out back then.” For discord number, I actually tried to recreate some of that intensity in the new recording, and it felt really fresh and fun to tap into that energy again.
Reo: One part that really stood out to me was the outro of discord number, where the tempo suddenly shifts, and everything gets really intense. Originally, I suggested that Hazuki should handle that section, but he wasn’t really sure how to approach it, so in the end, I ended up taking it on myself. That whole exchange brought back memories of how we used to figure things out back in the day. It made me think, “Oh yeah, we used to do things like this.” Re-recording these songs definitely reminded me of those early days.
——Was the atmosphere completely different?
Reo: Yeah, it was pretty different. Back then, we would all be in the studio together, and each of us would take turns recording our parts while the others waited. It felt more like a shared experience, where we were all in the same space, going through the process together. Now, we record in a more structured way—first, we finish all the drum tracks, then move on to each instrument separately. Since we’re not all in the studio at the same time anymore, the atmosphere has definitely changed compared to how it was back then.
——Which song was the most fulfilling to re-record, and why? Did any song take on a new meaning for you this time around? A song that feels especially personal to you today?
Asanao: The fact that the original versions of these songs are no longer easily available makes the re-recording project even more meaningful. By re-recording and releasing them again, fans who weren’t able to get their hands on the original albums will now have the chance to experience them. That alone feels like a positive step for both the band and the fans. When we first recorded these songs, there were limitations, especially in terms of rhythm and technique. This time around, we were able to go back and work on parts that we weren’t able to fully execute before. In a way, we’ve improved and refined those original ideas. The process of revisiting those old tracks and making them better, in terms of sound and feel, was fulfilling.
Hazuki: There are a few tracks I’m particularly fond of, like QUARTER LIFE and Mujun to Sora. For these songs, we decided to add more harmonies and vocal layers, which really brought out a new dimension in the music. The result is that these versions sound much fuller and more intricate compared to the original ones. When I listened to the new versions, I realized just how strong the melodies were in the first place, and how much potential they had to shine. The added layers have really brought out a depth that wasn’t there before, which made the whole process feel very rewarding.
Reo: All of these songs have special meaning, especially since many of them are either tracks that fans haven’t heard in CD in a long time or songs that were previously so rare that only a few people ever got to listen to them. For these songs to now be accessible to all our fans is a huge win in itself. But if I had to highlight one, I’d say Mudai. This track was originally a bonus song on one of our singles, making it extremely rare. A lot of fans had heard about it but never actually had the chance to listen to it because it wasn’t widely available. By including it in this re-recorded project, we’re finally giving our fans the chance to experience it, and I think that’s a really cool part of this whole process. It’s exciting to know that something so rare will now be heard by many more people.
——Regarding the lyrics—when re-recording songs you wrote 20 years ago, did you feel any discomfort singing them again? A lot can change in two decades.
Hazuki: Hmm… (thinks deeply).
——Was it… embarrassing?
Hazuki: No (bursts into laughter). I didn’t write them as personal stories. The lyrics are dark, just fragments of words and sentences, and even now, I can still relate to them. Actually, the real challenge was that many of the songs didn’t have proper lyrics to begin with. There were tracks where, even back then, I wasn’t sure what I was saying. So, for some songs, I had to carefully listen, figure out the words, and mimic them while recording. I think the way I approach lyrics has changed over time. Not all of them, but back then, I often didn’t attach deeper meaning or stories to my lyrics. Now, I’ve come to understand the importance of giving lyrics meaning and storytelling. Over these 20 years, that’s probably the biggest shift—back then, I didn’t think much about it, but now, I value it a lot more.
——Were there any challenges or surprising moments while re-recording these early songs?
Hazuki: Hmm… One thing I really focused on was staying true to the original feel of the songs. But honestly, back then, I never thought about how difficult these songs might be to perform. I didn’t even consider that there would be any challenges. However, once we actually started recording, I had a major realization—my entire approach to singing had changed over the years. The way I used my voice back then and the way I do now are completely different. I never noticed it before, but as soon as I started re-recording, I realized that the placement of my voice, the way I shaped my sounds, was entirely different from how I sing today. It was something I had to consciously relearn. So, I had to revisit and really master that old vocal style again to match the original songs.
Reo: Back in the day, we only had one guitarist, so I was solely responsible for creating the guitar phrases. Re-recording these songs made me reflect on that—it reminded me of the way I used to approach writing guitar parts when I was the only guitarist. But at the same time, I also discovered that some of the techniques and patterns I used back then can still be applied today, even when playing alongside Yusuke. It was an interesting rediscovery, and I think it added another layer to how we approached these re-recordings. So yeah, in the end, it turned out to be a really valuable experience.
Asanao: As for me, there wasn’t anything particularly difficult about re-recording the songs. Even though they’re older tracks, we’ve played some of them live over the years, so it’s not like I had completely forgotten them or found them overly nostalgic. Because of that, I didn’t struggle too much. However, playing these songs live and recording them in a studio are two different things. The way I approach drumming in a live setting doesn’t always work the same way in a recording. So, the main challenge was making those adjustments—being mindful of the differences and ensuring the recorded versions had the right feel.
——Over two decades, what’s one thing about lynch. that has never changed? What do you think has always been the band’s core?
Hazuki: It’s a tough question, but I think the one thing that’s never changed is that we only create music we truly believe is good. Our sound has changed over time, and we’ve experimented with different styles. But if a song doesn’t resonate with us or feel right, we won’t release it as a lynch. track. That’s the one constant.
Reo: From the beginning, whenever one of us has an idea, we don’t move forward with it unless everyone in the band agrees. We’ve always worked together this way, and we’ve kept this democratic approach since the very start. So, I think that’s been at the core of lynch. from day one.
——After 20 years together, what have you learned about yourselves on a personal level?
Hazuki: Hmm… that’s a tough one, again (laughs).
Reo: I wouldn’t say it’s something we learned exactly, but we’ve often been told by other musicians that we’re all a bit eccentric. At first, you might think a band needs to have a certain kind of structure or follow a set way of doing things, but over time, I’ve realized that forcing everyone to fit into a mold doesn’t actually help a band grow. Instead, embracing each member’s individuality and letting them be themselves has a much more positive impact. Over these 20 years, I’ve come to understand that when everyone is free to express their own personality and do in their own way, the band as a whole is stronger and more successful. That’s something I’ve really felt firsthand.
Asanao: It’s a difficult question… All of us chose to pursue this band instead of taking the typical path of getting a regular job. Of course, when you go out into society, get a job, and experience different things, you naturally grow as a person. But in our case, we’ve spent the past 20 years together in lynch, living a life that’s different from the norm. We’re part of society in our own way, but at the same time, we’ve been in this band with the same members for so long that it sometimes feels like we haven’t changed. That said, when I look back, I can see that we have grown as individuals over the years. Even though we’ve been on this same path for two decades, we’ve evolved as people in ways that might not be immediately obvious.
——Has your relationship changed over the years?
Reo: Our main goal has always been to focus on creating the best possible music together by allowing everyone to freely express their individuality. In that sense, we keep things professional and stay focused on the music.
——Every band goes through hard times — and lynch. has faced quite a few challenges over the years. What keeps you going, even when things get tough?
Hazuki: Well, for me, it’s a matter of either moving forward or stopping. I don’t really spend too much time thinking about whether I should or shouldn’t do something, or worrying about what the best course of action is. I just focus on choosing what I need to do in each moment to keep moving forward. There’s no real second-guessing; I just go for it.
Asanao: I’m not sure if this is the best answer, but like Hazuki said, it’s really about the choice between moving forward or stopping. I think I feel the same way. I believe that moving forward is the right choice. Things could turn out positive, or they could turn out negative, but at least if you keep going, you’re doing something. If you stay still and don’t take any action, nothing will come of it. Even if things go wrong, you can always try to turn it around and make it better. That’s how I see it. For me, if I’m not doing something, I’m not moving forward, and nothing changes.
Reo: I always feel that difficult times are actually an opportunity to move even further ahead. When you add two negative things, it stays negative, right? But if you multiply two negatives, you get a positive. That’s how I approach challenges: I try to see the potential for growth even in hard times. Also, over the past 20 years, we’ve been fortunate enough to gain more and more people who support us. And I feel a strong sense of responsibility towards them. If I were to say that I’m quitting, then I could just stop right there. But if I don’t let that thought in and keep pushing forward, I can continue. That’s the mindset I’ve kept throughout the years, and it’s what keeps me going.
——The music industry has changed a lot over the past 20 years. What’s the biggest shift you’ve seen, and how has it affected you as a band?
Hazuki: Honestly, we haven’t been affected by it that much. I think we just kept doing what we do, and didn’t focus too much on external changes.
Reo: Well, when we started, CDs were still selling, and everything seemed stable. But around 2013 and 2014, we began to hear people saying that CDs were no longer selling. This shift had been happening for a few years before, but that was when it became really noticeable. One of the most significant changes we’ve seen recently is with ticket prices. Due to inflation and rising costs of living, ticket prices have risen substantially. It used to be that a ticket for a one-man show by a first-year band would cost around 3,000 yen. But now, it’s likely that those same bands would charge around 4,500 to 5,000 yen per ticket. This increase in ticket prices has led to fewer people attending shows. In general, people are spending less on entertainment like this, and more on essential goods. However, despite these challenges, we still believe in the importance of live performances. We aim to make sure that ticket prices remain fair and justified for the experience we provide, and we really want people to keep coming to our shows.
——What’s the best part of being an artist — and what’s the most difficult?
Hazuki: For me, the best part of being an artist is definitely the live shows. It’s the time when you can connect with your fans, share your music, and feel the energy in the room. It’s an incredible experience. But with that comes the pressure of maintaining a high level of performance. We have to keep improving the quality of our music, our instruments, and our vocals so that we don’t let our fans down. The pressure to keep raising that bar is tough, but it’s part of the process. Despite the pressure, I love what I do, and that makes it all worth it.
Asanao: I would agree with Hazuki. The live shows are really the highlight. They’re a lot of fun, but the difficulty comes from constantly meeting and exceeding the expectations of our fans. You can’t just stay at the same level; you have to keep pushing yourself to do better. You need to always be creating new music and new content that will excite the audience. There’s constant pressure to innovate and improve, and that’s not always easy. But that’s also what keeps us motivated — trying to outdo ourselves and create something even better.
Reo: Like Hazuki and Asanao, I also think live shows are the most enjoyable part of being an artist. However, as we grow older, we all naturally experience a decline in physical energy. If we don’t work on our fitness, we can’t maintain the same level of intensity in our performances. To keep up with the increasing demands of our music, we need to stay in shape and continue training, both physically and musically. It’s challenging, but it’s necessary for us to continue delivering great performances. I don’t find it painful — it’s part of the journey, and it’s for a good cause. In a sense, we are like athletes, and just like athletes, we need to keep our bodies in top condition. I think that if we continue our music style into our 60s, we could still make a powerful impact. That’s the kind of longevity and relevance we’re striving for.
——After 20 years in the music industry, what advice would you give to young musicians starting out today?
Hazuki: This is a tough question… again (laughs)… It’s a tough question because there’s no one-size-fits-all answer, and you can’t just force yourself to do something. But I would say that the most important thing is to truly love what you do. If you love music and making music, that passion will carry you through the tough times. These days, I believe that loving what you do is actually a form of talent. When you love something, it doesn’t feel like work — it feels natural to practice, to play your instrument, or to sing. You’ll do it automatically, and that will lead to progress. Over time, you’ll get better, and you’ll start to distinguish yourself from those who don’t have that same passion. I can tell from our own journey that loving music was the driving force behind everything we’ve achieved. It’s not always easy to find something you love, but once you do, it’s incredibly important to nurture that passion and never take it for granted.
Asanao: I think the advice I’d give is similar. When you’re starting out, it can help to have an artist or musician you admire and look up to. If you thoroughly study their work and try to imitate their style, that’s a shortcut to improving and learning. It’s a great way to level up as a beginner. Later on, you’ll start developing your own originality, but in the beginning, focusing on what works and trying to learn from the best is a great way to get better faster. So, my advice would be to start by imitating the musicians you think are cool and use that as a stepping stone.
Reo: There will definitely be times when things don’t go as planned. But when that happens, it’s important not to get stuck in the mindset that there’s only one way to reach your goal. Sometimes, taking a detour or a different approach can actually get you to your destination more easily. Life isn’t always a straight line, and flexibility is key. Stay focused on the bigger picture and keep your options open. With a broader perspective, you’ll be able to adapt and keep moving forward, and eventually, you’ll find your way. So, my advice is to always think about your long-term goals, stay adaptable, and keep a wide view of the path ahead.
——Thank you very much for your time again.
All: Thank you!
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Mandah FRÉNOT
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