Honoring their 90s roots while nurturing the next generation of bands – MUCC’s new musical chapter is infused with love
With over 25 years of dedication to their craft, MUCC hardly needs an introduction. This month, the band hit a major milestone with their third major debut on June 4th, releasing the single Ai no Uta under Tokuma Japan Communications. In a strategic move to widen their appeal without sacrificing artistic freedom, they teamed up with a seasoned producer known for his work with LOUDNESS, RED WARRIORS, and THE YELLOW MONKEY. With the release of their new music, erotically charged love song, MUCC beautifully channels their admiration for BUCK-TICK into a glamorous grunge sound, drawing on the 1990s vibe curated by band leader Miya. The single is complemented by the B-side track Violet, composed by YUKKE and Miya. Currently on tour with other Visual Kei bands for the Love Together experience, Miya took a break from the stage to discuss MUCC’s evolution and the foundational influences that have shaped the band into what it is today.
As a reminder, Miya, known as the guitarist and leader of MUCC since 1997, also contributes to the supergroup Petit Brabancon. Beyond his role in MUCC, Miya is a versatile DJ, record producer, and audio engineer, collaborating with various artists to bring their creative visions to life.
——Hi Miya, thank you for your time once again while on tour. How’s the tour going?
Miya: The tour kicked off on June 9th, it’s going great! The fans are really enjoying themselves, which is wonderful, of course. But what’s truly remarkable is how much fun the performers are having this time. Both our band and the guest bands we’re playing with are having an incredible time. We’ve only done four shows so far, including a few solo concerts, but it’s already been an amazing experience. Everyone is in high spirits, and the energy is just fantastic.
——That’s great! So, there are other bands joining you on this tour.
Miya: Yes, at the beginning, we played with Kizu and NoGod joined us for the last concert. For tomorrow’s show, we have a band called Amai Bouryoku. We’re organizing the tour so that a different guest band joins us in each region. This means not all our shows are solo concerts. Typically, the guest band performs first, and then MUCC takes the stage. This format is really refreshing and adds a lot of variety. It keeps things exciting and fun for both the performers and the audience.
——How do you choose the guest bands?
Miya: For this tour, we decided on a concept that focuses on featuring Visual-Kei bands as guest performers. This approach is quite unique in the Visual-Kei scene, where bands usually do solo concerts rather than collaborative performances. We wanted to bring something new and refreshing to the industry. The idea of touring with other bands, especially our juniors, is a novel experiment for us. It’s been fascinating to see how this dynamic plays out. We’re really enjoying the process and find it incredibly interesting to share the stage and tour with these talented bands. It adds a different flavor to each show and creates a more vibrant and diverse experience for both the audience and us as performers.
——You just released a double single after transferring to a major record company. How did the decision to go major come about for the third time?
Miya: In the past, MUCC has had contracts with major labels, but we’ve never been particularly focused on whether we are with a major label or an indie label. Our approach has always been to choose the path that best fits our activities and goals at any given time. This time around, the timing felt just right. We have a strong desire to reach a wider audience and have more people listen to MUCC. Additionally, we found a team that shares our vision of creating high-quality music and entertainment. It felt like the perfect moment to collaborate and move forward together as a cohesive unit.
——What are the advantages and disadvantages of being with a major label versus being indie?
Miya: Being indie has the major advantage of creative freedom. We can pursue whatever artistic directions we want without having to conform to external pressures or restrictions. This allows us to stay true to our vision and experiment freely. However, the downside is that without the reach and resources of a major label, there are significant limitations on how many people we can reach. There’s a whole segment of potential listeners that we might not be able to connect with on our own. On the other hand, being with a major label has its own set of advantages. In the past, major labels were known for having a lot of restrictions and controlling creative decisions. But nowadays, they have become much more flexible and open to artists’ visions. Our current label has been very accommodating and supportive of our direction, providing contracts that align with our goals. This change means that we can now leverage the resources of a major label while still maintaining our creative freedom. For instance, in the past, there were strict rules about uploading content to platforms like YouTube, which limited our ability to share our music widely. Now, those restrictions have largely been lifted, allowing us to reach a much broader audience. It feels like we’re able to combine the best aspects of both worlds—maintaining our artistic integrity while also utilizing the promotional power of a major label.
——The music industry has undergone significant transformations and continues to evolve with the the globalization and technological advancements, right? The single “Ai no Uta” and its B side “Violet” were released on June 4th. If you were to explain MUCC’s current sound and worldview to someone who is completely unfamiliar with MUCC, how would you explain it? I heard that Miya-san had the keyword “1990s” in mind?
Miya: Yes, exactly! Well, I think that our strength lies in the longevity of our band. There aren’t many bands that have been active for 27 years without a break. Our formative years—our youth and adolescence—were during the early ’90s. We experienced the music of that era firsthand, and it left a lasting impression on us. Now, in 2024, the music from the ’90s is being reevaluated and highly praised, especially Japanese genres like J-pop and city pop. Having created music during that period, we wanted to highlight those influences in our current work. This new release captures an element of returning to our roots while blending the sounds of the past with contemporary elements. This mixture creates a unique and exciting experience for us and our listeners. When we formed the band in 1997, we were heavily influenced by the music that was popular at the time. We listened to a lot of different genres, but we avoided immediately adopting current trends because it felt a bit tacky. Instead, we stayed true to our own style. Now, incorporating the music from that era feels fresh and stylish. We grew up listening to early ’90s Visual-Kei bands like BUCK-TICK, LUNA SEA, and X-JAPAN, along with many lesser-known bands from before the term “Visual-Kei” became famous. Revisiting and expressing the essence of that time now seems very cool to us. There’s a unique charm in the music from before the genre was fully established. It was somewhat undefined but inherently cool. We aim to capture and express that vibe. In Japanese, we might describe it as mysteriously cool. This is the kind of feeling we want to convey with our music now—a blend of nostalgic influences and modern creativity that feels both familiar and new, capturing the timeless essence of what we found cool and inspiring back then.
——You mentioned BUCK-TICK, I heard that Ai no Uta was made as a tribute to them, and I believe it was a resounding success. You really nailed it! Could you elaborate on the significance BUCK-TICK holds for MUCC?
Miya: Oh, thank you very much for saying this. Highly appreciated! BUCK-TICK has been a band that deeply influenced us during our formative years. Their music carried a sense of danger and intrigue that we loved as young music lovers. It was almost like exploring forbidden realms. Their exceptional talent not only intrigued us but also pushed the boundaries of artistic expression. Their ability to navigate controversial and provocative themes added more charms and depth to their music. This experience was incredibly stimulating and impactful for us at that time. We wanted to recreate that same kind of stimulation for our current audience and younger generations. By paying homage to the music of that era, we want to offer something new and attractive for younger listeners to discover and appreciate. It’s about transmitting the positive aspects and the essence of the music that initially inspired us to start creating music, ensuring it reaches and resonates with a new generation.
——I totally get it. What does BUCK-TICK symbolize for MUCC now?
Miya: Vibes! Our Youth! Our foundation! For us, BUCK-TICK embodies not just musical vibes but also the spirit of youth. They represented a time of exploration and boundary-pushing in music, which deeply influenced our own artistic career. It’s more than a musical band.
——Preach! The music video for Ai no Uta incorporates a unique atmosphere that some viewers find reminiscent of A Clockwork Orange. Could you elaborate on the video?
Miya: In terms of costumes, it was the first time all members of MUCC wore identical outfits, which had never happened before. It’s been quite some time since we’ve seen all band members dressed uniformly, so that was particularly intriguing for us as a band. You mentioned the movie A Clockwork Orange, and you are totally right. I personally admire this movie, and I sensed elements from its world, such as the portrayal of weapons, resonating within the lyrics of our song. This inspiration influenced certain aspects of the video. The song’s lyrics are contemporary, modern, which creates an interesting contrast with its musical tone. The contrast between modern lyrics and old-school tones from the 90’s and aesthetics inspired by A Clockwork Orange film contributes to the uniqueness of MUCC’s current identity. I believe this juxtaposition worked really well in the MV.
——It did. I really love the whole concept of it.
The lyrics of Violet were penned by you, Miya, while the music was a collaboration between YUKKE and yourself. How did this song come about?
Miya: Actually, YUKKE made a funny mistake. He composed the music with the intention of creating an 80s-style vibe though I had told him to drew inspiration from the 90s. The allure of 80s music was attractive and interesting, prompting us to blend it with elements from the transition period between the 80s and 90s. This fusion is reminiscent of iconic Japanese bands like BOOWY and the guitar work of Hotei Tomoyasu, deeply rooted in our musical heritage even before the era of X-JAPAN so we decided to keep it that way. The lyrics reflect a nostalgia tinged with embarrassment, echoing sentiments from a time when direct expressions of emotion were considered awkward. It was a deliberate challenge for us to weave lyrics that might seem awkward to our generation into a song, yet we embraced this challenge to explore new creative dimensions.
——Why do you find the lyrics embarrassing?
Miya: Well, Japanese culture tends to be reserved when it comes to expressing emotions directly. We often shy away from openly saying things like “baby”, “darling” and so on. While such expressions were more prevalent in music of the past, there was a certain elegance in not articulating emotions too directly. The music of that era had a unique ability to convey deep feelings subtly. I think the song Violet captures this essence. The song draws from personal experiences, portraying simple romantic encounters in a straightforward folk song style. There was definitely a sense of embarrassment when I first wrote these lyrics. They were sentiments I couldn’t have expressed in my younger days. Now, being over 40, I’ve grown more comfortable with expressing such emotions without hesitation.
——How does Tatsuro feel about singing these lyrics?
Miya: (burst into laughter) I wonder how Tatsuro feels about that (laughs). I don’t think he minds, especially when considering performing it on stage. While it might feel awkward in everyday life, performing on stage evokes a different sensation where nothing seems embarrassing—it’s the magic of live performances.
——I wonder why performers often feel liberated on stage to express themselves freely while not being the case in private.
Miya: Maybe the stage can provide a sense of detachment, allowing performers to embody characters or personas that facilitate the expression of thoughts and feelings that they might hesitate to convey in private interactions.
——True.
Where was Violet video filmed?
Miya: That was filmed at a place owned by someone called Heisei Kojaraseya. (https://x.com/heisei_kojirase), an artist who collects only toys and items from Japan’s Heisei era. We rented the room of this artist, filled with drinks and toys that we used to drink during our youth, figures, and so on, all from that era. The Heisei era was a strong theme musically, so it felt like a perfect match, not just a chance encounter. YUKKE pretty much directed the video.
——What’s intriguing is how the current atmosphere and style of MUCC is vividly reminiscent of a bygone era, capturing it with a raw, nostalgic essence. Is there a special significance or message behind this, especially considering it happened after your major debut? Isn’t it contradictory?
Miya: No, quite the opposite actually (laughs). Being on a major label has allowed us the flexibility to collaborate with various creators and explore visual styles and aesthetics that might not have been feasible otherwise. It feels liberating to express ourselves without the usual constraints. Going major gives us freedom to pursue what we truly enjoy. It gives us the opportunity to go deeper into many things we love and explore different creative avenues. Typically, major labels are perceived to impose restrictions so I understand your point, but, in our case, our record company provides us with the opportunity to explore our own world freely.
——That’s super cool!
Last year, you went on tour to celebrate the band’s 25th anniversary. How do you feel about this milestone?
Miya: For our 25th anniversary, we embarked on a tour featuring songs from our 8 albums. We did a total of 4 tours covering material from these albums. With MUCC having a rich discography and a plethora of songs, it was indeed challenging. But, being able to showcase songs from 20 years ago on this tour was a rare and special opportunity. It allowed us to reflect on our growth over the past two decades. And, for each tour, we also released new songs inspired by the music from that era, exclusively available at the venues. This experience was as a great source of inspiration for our current work, highlighting the value and gratitude we feel for being able to continue creating music for so long. It has truly been a positive inspiration for us as we explore new creative avenues.
——What aspects of growth stand out to you?
Miya: It’s hard to pinpoint just one aspect. The music we created in our younger days is something we can no longer replicate, and vice versa, the music we create now is something we couldn’t have produced back then. Each era of our music has its unique qualities though. It’s not about comparing the past to the present in terms of quality. What I find truly remarkable is our ability to still perform those songs live even after 25 years. Not many bands can achieve that level of longevity. So, I believe our greatest growth lies in our ability to persist, to continue evolving and pushing forward with the band over the years. I think it’s the fact that we’ve continued without stopping. Reflecting on our 25-year journey, I believe the ongoing commitment and dedication to our music has been the most significant highlight for me. It’s my biggest achievement so far.
——That’s true.
Some bands aspire to continue their musical career for an indefinite period, while others may have a specific timeline in mind. What about your band’s approach?
Miya: We haven’t set a definitive end date for our musical career, as the goal isn’t simply to keep going. While we acknowledge that there may come a time when circumstances dictate a pause or a shift, we haven’t predetermined a fixed timeline. I believe that the evolution and trajectory of our music are influenced by various factors, and determining a concrete future plan seems somewhat arbitrary in the ever-changing landscape of the music industry. We haven’t thought too deeply into those considerations yet. As of now, we just go with the flow.
——After 25 years in the music industry, what has changed the most in the way you approach music? From your early aspirations of making a living through music to your current role as a successful guitarist over the past 25 years, how has your perspective on music evolved?
Miya: That’s one difficult question (laughs). Even to this day, I remain committed to updating my approach to music, as I find the evolving music landscape utterly and endlessly fascinating. As a guitarist, I continue to get immense joy from creating music. If that enjoyment were to diminish, it might prompt me to reassess my musical career. Currently, I find great pleasure in the musical exploration and discovery that each day brings.
——Miya, given your diverse musical pursuits, what aspect do you enjoy the most? Is it the thrill of performing on stage, the creative process of recording in the studio, the challenges of production, or the intricacies of mastering?
Miya: To be honest, I get great satisfaction from all these aspects of music creation, but beyond music, one of my favorite activities is driving (laughs)
——How cool!
Do you indulge in driving frequently?
Miya: Yeah, I am an avid driver (laughs).
——I like that!
Miya, your schedule always seems to be jam-packed with activities. In addition to your commitments with MUCC, you are also involved with Petit Brabancon, who is gearing up to release an EP this year. When it comes to composing music for these two distinct bands, do you find yourself approaching the creative process in a different manner? Does your mindset shift depending on the specific band you are writing for?
Miya: You like difficult question, don’t you (laughs)? The approach to composing for MUCC and Petit Brabancon is like comparing apples to oranges. It’s important to note that I never cross-pollinate songs between the two bands. Each band has its own unique identity and musical direction, tailored to suit the individual characteristics and dynamics of the band members. For instance, my role in Petit Brabancon doesn’t involve lyric writing, which adds another layer of differentiation between the two projects.
——Do you find that you require a specific environment or ambiance, such as a dimly lit room, to channel your creative energies when crafting songs for MUCC versus Petit Brabancon?
Miya: Not really. I find myself in the same studio space when working on compositions for both bands. While the physical setting remains constant, the emotional and creative energies channeled into each project are distinct and tailored to the specific musical identities of MUCC and Petit Brabancon.
——Could you tell me what aspect of MUCC and Petit Brabancon you like the most?
Miya: Sure! With MUCC, the band’s strength lies in its ability to traverse various musical genres and styles, embracing a diverse range of musical expressions. On the other hand, Petit Brabancon delves into more intense and passionate territories, focusing on raw emotions and visceral energy. This band exudes a hardcore edge, delivering potent and concentrated musical experiences within a more focused and intense sonic landscape. I think, MUCC offers a wide canvas for musical exploration, while Petit Brabancon provides a more concentrated and intense musical experience, each offering its unique artistic satisfaction and fulfillment.
——Thank you for this great answer, have a great show tonight!
Miya: Thank you very much.
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Mandah FRÉNOT
(c) VMJ
