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10.10 (Fri) Deuxième Anniversaire - Splendid Resurrection / 10.11 (Sat) Pays de merveilles - The Door to the Empty Moment

(Contact) Hot Staff Promotion 03-5720-9999

"A beautiful and sorrowful story that was once sealed and forgotten long ago is now being revived here. It's hard to distinguish what's reality and what's a dream as this vast and endless journey transcending time and space weaves a grand tapestry of life and death love in its many forms and contrasts all interwoven together. It could perhaps be seen as a grand tapestry of sorts.

The beginning of it all lies with their Malice Mizer's release of their July major debut single "Ver. Aile In the Empty Moment". From this point, they announced that they would express this grand tale in a three dimensional expansion of soundtracks, stage and film. Without a doubt the nationwide standing tour held during this summer, "Pays de merveilles - In the Empty Moment ~", was part of this initiative, and the video of "Ver. Aile In the Empty Moment de l'image" announced here is also the most pivotal point in this journey. Additionally they have decided to set the stage for this story in a medieval French castle shooting it in the style of a silent film. Therefore from mid to late June, they quietly embarked on bringing this story into form as a film in a deep forest in the outskirts of Paris.

The castle in question is truly like something from a fairy tale or a shoujo manga with noble heirs still living in this stone castle that dates back to the 12th century. The distance from the outer gates to the castle is over a kilometer and within the vast grounds are chapels and clock towers with ivy-clad castle walls adorned with red and white climbing roses. This magnificent setting became the perfect stage for the band who have always incorporated medieval European themes into their songs and live shows since their formation.

However for them, this was also the first time they had done full on acting for a film. Each member had to deeply understand their character’s inner world immerse themselves in it and express it directly through film, sometimes even playing dual roles (like Mana and Közi). While they are known as the "ultimate art collective," this was no easy task. Despite some struggles initially, with their efforts, the final result was a stunning set of visuals. The collaboration between the members' sensitivity and dedication, combined with the ideal setting and excellent staff work, resulted in profound, majestic, and beautiful images.

This video, "Ver. Aile In the Empty Moment de l'image", created on an unprecedented scale in the Japanese music industry is not merely a promotional video nor a film. It is a groundbreaking and innovative visual work. At the same time, it serves as a metaphor for the riddles and hints contained within the story that has unfolded through the three dimensional expansion. The relationships between the characters, the hidden intentions in the details, and the multi layered interpretations of the silent format are all things that you should savor while unraveling this work."

Yuki Sugie

Photo credit: Cantavanda

KÖZI (g)

Q. Favorite food

A. Curry, my mother's home cooking

Q. Least favorite food

A. Sea urchin

Q. Favorite drink

A. Tea, Red Eye (a beer and tomato juice cocktail)

Q. Least favorite drink

A. Liquid Cabbage (a stomach relief drink)

Q. Favorite scent

A. It's difficult to put into words

Q. Least favorite scent

A. Various bad smells

Q. Favorite scenery

A. The sea just before dawn

Q. You can cry three times in your life. The first time is when you are born. What about the other two?

A. Ore wa nanno namida mo nagasanai. Da-da-da! ("I won't shed any tears. Da-da-da!")

Q. If you could ride a time machine, when and where would you go, and what would you do? (Past or future is okay)

A. Into chaos. I'd want to see the Big Bang (the beginning of everything).

Q. If you were an assassin, what weapon would you use and why?

A. My hand blade. If you touch it carelessly, you'll get cut!

Q. Unlimited funding is provided. If you were to direct a movie, what kind of movie would it be?

A. Title: Manyan. Tagline: "A city possessed by an evil 'something' where strange phenomena occur one after another. A mysterious fake nose. A terrifying blend of comedy and psycho-suspense horror."

Q. What is the best "moment" for you?

A. Drinking an ice-cold beer after doing good work.

YU~KI (b)

Q. Favorite food

A. Sweet things

Q. Least favorite food

A. Bitter things

Q. Favorite drink

A. Sweet things

Q. Least favorite drink

A. Bitter things

Q. Favorite scent

A. Sweet things

Q. Least favorite scent

A. Bitter things

Q. Favorite scenery

A. A school on a red clay hill

Q. You can cry three times in your life. The first time is when you are born. What about the other two?

A. Tears of emotion and sadness

Q. If you could ride a time machine, when and where would you go, and what would you do? (Past or future is okay)

A. I'd want to see what I look like at the very end of my life.

Q. If you were an assassin, what weapon would you use and why?

A. Fangs to the neck (so I could watch their face as they die experiencing ultimate pleasure).

Q. Unlimited funding is provided. If you were to direct a movie, what kind of movie would it be?

A. A romance film, without worrying about fame.

Q. What is the best "moment" for you?

A. When I'm enveloped in white light.

MANA (g)

Q. Favorite food

A. Of course, Orukubekki's curry

Q. Least favorite food

A. None

Q. Favorite drink

A. Tomato juice

Q. Least favorite drink

A. None in particular

Q. Favorite scent

A. Sweet fruits

Q. Least favorite scent

A. Strong perfume worn by women at night

Q. Favorite scenery

A. White sky and blue sea

Q. You can cry three times in your life. The first time is when you are born. What about the other two?

A. I can't decide something like that.

Q. If you could ride a time machine, when and where would you go, and what would you do? (Past or future is okay)

A. I don't want to think about it since time machines don't exist.

Q. If you were an assassin, what weapon would you use and why?

A. A whip. I'm used to using it.

Q. Unlimited funding is provided. If you were to direct a movie, what kind of movie would it be?

A. The life of a phantom chef.

Q. What is the best "moment" for you?

A. The time when I can sleep when I'm sleepy.

ARENA 37°C (アリーナサーティーセブン) Vol.181 1997年10月

V's Break Out

"On July 19th Malice Mizer will make their major debut with the single 'Bel Air In the Moment of Emptiness.'

'Bel Air'—a French term meaning 'green wings' or 'clear air.' It’s a beautiful melody that would suit a European landscape filled with silence and melancholy, capturing the rise and fall of emotions. The lyricist, Gackt, and the composer, Mana, share the story behind this song.

Photograph: Hideaki Yajima

Costume: Yukari Ohba (Midi: Nette)

Interview by Hiroko Yamamoto"

―Your first major release, "Bel Air In the Moment of Emptiness," is about to come out. When you two work together to create songs, how does it usually go?

Gackt: It depends on the case. Often, we have the prototype of the song first, and then we go into the studio to shape it together.

Mana: This song, in particular, kept evolving. At first, I had an image of Scandinavia.

―Did you picture the Scandinavian landscape?

Mana: No, it was more Scandinavian metal (laughs). I imagined a beautiful guitar melody. I didn’t really picture a specific scene.

―Did you expect it to become your debut single?

Mana: I wasn’t really conscious of that. I feel like people look at Malice Mizer and think, “What are they?” But this song focuses on the sound of the five members, so I thought it was a track that could convey that the band is the core. Even though it’s our debut, we didn’t aim to make a pop song. The time signatures are irregular, and the tempo changes constantly, but the melody in the chorus is easy to listen to. It felt very much like us.

―Did you feel like you had created a masterpiece?

Gackt: Usually, I’d ask, “What’s the theme of this song?” But this time it was the opposite—Mana asked me, “What kind of lyrics are you going to write?” So I told him what I wanted to express with “Bel Air.”

Mana: On the other hand when it comes to songs where i can picture a scene, I’ll explain in detail, even to the point of being persistent. For example, while working on “Transylvania,” i constantly had the story of a Dracula movie in mind. But this time there wasn’t a specific scene, just emotions like sadness and melancholy.

Mana: Yes, with the harmonized twin guitars typical of Scandinavian metal, they’re beautifully melancholic, right? From the intro to the end i wanted both guitars to play harmonized parts non stop. Nowadays, in many bands, one guitarist does rhythm while the other plays the solo, so I thought having both play like that was kind of unique.

―So, did you communicate this song’s concept to Gackt?

Mana: Did I say “Scandinavian metal” (laughs)?

Gackt: I didn’t hear that (laughs).

Mana: I remember telling Közi, but I don’t recall how I explained it.

Gackt: I think you didn’t explain anything (laughs). Usually, there’s some kind of theme, but maybe that’s why you didn’t say anything this time.

―The lyrics bring to mind a tragic love story, don’t they?

Gackt: Hmm… I’m sure a lot of people would imagine a negative scene when they hear these lyrics, but I don’t generally write such lyrics. The events in this song are indeed sad and painful, but I wrote the lyrics with great importance on taking a step forward from that. The last part of the lyrics doesn’t have a subject or conclusion, and I wanted people to interpret it through their own experiences.

―Is it about losing someone you loved?

Gackt: Yes, that’s right. When I first heard this song, the word “Bel Air” came to mind. But since it had irregular time signatures and many transitions, I hit a wall and couldn’t finish the lyrics. Then I heard the news that someone close to me had passed away. After thinking about many things at home, the remaining melody and lyrics finally came to me. That’s why I have such a deep attachment to this song.

―The phrase “floating while swaying” is particularly striking.

Gackt: Yes, that phrase is key to this song.

―The transitions in the song seem to represent the passage of time. It’s very profound.

Gackt: “Emptiness” can mean many things. Sometimes, just five minutes can feel like a year or two. I think I was able to express the moment when you suddenly snap back to reality after a period of emptiness.

―By the way, this release comes with a video, right?

Mana: Yes, it does. We’re releasing the video in September. The video included with the single is just a small part of the footage shot in France, but the September release will be more like a movie. Malice Mizer is a band with a three-dimensional concept, so we use various stage performances to bring our songs to life. Visuals are an essential part of our expression.

Gackt: So, it won’t be just a typical music video; it will be something that embodies the feelings behind “Bel Air.”

QUARTER MAZE

Beauty Hair Encyclopedia

MANA (G)

(Malice Mizer)

Favorite Products

Shampoo & Conditioner: Pantene

Treatment: Split-end treatment from the hair salon (Wella)

Styling Products: Finesse mousse

- How long have you been growing your hair?

About 5 years, I think? During that time, I’ve cut it a little.

-How often and where do you get your hair cut?

About once every three years. I have wavy hair, so I don’t get perms. I'm currently in the process of growing it out, so if I think the ends are looking a bit messy, I go get a trim. Any hair salon is fine. I just find a stylish, modern salon while walking around town.

-What do you do after washing your hair?

Basically, because my hair is long, it’s tough to dry (laughs), so I let it air dry. But it tangles quite a bit, so sometimes I do dry it properly with a hairdryer, making it about half and half.

-Do you usually tie your hair up or leave it down?

I tie it back in a ponytail.

-If you dye your hair, what do you use?

Powder hair rinse. The colors I use are blue or platinum.

-Advice for your stage hairstyle.

The way I curl my hair for the stage is something I’ve developed on my own. There’s a trick to the way I curl it so if you want to try practice it. Master your own curling method! The key is to use a curling iron. You definitely can’t do it with curlers (laughs).

-Hair Care Message

Hair is a long-time friend. For a woman, hair is life (laughs). Hair that smells good is the best!!

YU~KI (B)

(Malice Mizer)

Favorite Products

Shampoo & Conditioner: LUX Super Rich

Treatment: V05 Wave Hair Treatment

Styling Products: Anything. I use what I get.

-How long have you been growing your hair?

About 4 to 5 years, I guess? But I sometimes cut my bangs and the sides myself.

-How often and where do you get your hair cut?

I go to the salon when I get a perm, but otherwise, I do everything myself. I cut it whenever it starts to bother me.

-Reason for getting a perm.

I didn’t want to use spray to make my hair stand up, so I got a perm.

-What do you do after washing your hair?

I towel dry it well and try not to use the hairdryer too much. It damages the hair you know. Then I just apply some light mousse and that’s it.

-Do you usually tie your hair up or leave it down?

I tie it up because I have a lot of work. On my days off i leave it down though.After all you shouldn't tighten your hair (laughs)!

-If you dye your hair what do you use?

I bleach it and drop it to blonde before using hair dye. A long time ago, I used to put in red, but as I dyed it black over time, it naturally turned into the right shade...

- Advice for your stage hairstyle.

If you grow your hair and get a perm, you’ll get my hairstyle.

- Hair Care Message

Hair is a woman’s life. No matter how beautiful your face is, if your hair is damaged, I can’t handle it (laughs). Having beautiful hair is a pretty high point for me (laughs)!!

THE END

Mana:

At the final stage of merveilles i felt like I saw a light within myself. Or rather i sensed it. I thought that might be an easier way to express it. But in reality... You’d think it came across clearly.

Gackt:

When it comes to live performances, ones that are carefully constructed, i sometimes wonder is that really okay? Of course it's not like it’s 100% perfect. Also you're always aware of the camera. I'd like to try using it more intentionally. Definitely.

Back during the live video Voyage, there were parts I just couldn’t be satisfied with. It wasn’t like we were consciously shaping the footage ourselves. You can really tell the difference between when you're aware of the camera and when you're not. Compared to that, this time we had more cameras and various new elements.

Actually, when it comes to balance, that one buffer, how we manage that, really matters. Promotion video technology has come a long way too. But honestly, I think it might be better to break the whole concept a little more. That’s just my personal view.

There's this assumption that everything is going to be captured on camera. But if I were allowed, I'd like to try breaking away from that. I wonder if that would really be okay. Still it’s not that easy.

The current situation with MALICE MIZER makes it even harder. To capture their live performances, we really have to think about where to put the cameras and how many to use. There are people who can’t see MALICE MIZER live. For them, video becomes the only window in.

So as a way to give them that experience, I’d love to just place cameras and film a live. Without overthinking it, maybe even using 200 cameras. But in the end, what we always struggle with is how to shoot the stage without interfering with it. Maybe we didn’t fully utilize some of the camera angles either. Fundamentally, there are things that cameras simply aren’t meant to capture.

Yukari Ōba

Yukari Ōba is the exclusive fashion designer for MALICE MIZER. All of their costumes are her work.

People with titles like "planner," "editor," or "writer" often like to separate their jobs into small roles. As a result, some people end up with two or three titles and end up saying how busy they are. Among them i think the profession of designer is currently being broken down into the most minute distinctions. It’s not just about people who create design sketches, cut fabrics, or shape the garments—there are specialists in hats, accessories, knitwear, and so on. I can understand if someone with a foot fetish only wants to make things related to feet, but recently, something’s been bothering me. It starts with the question of whether it's okay to refer to Ōba-san simply as a "costume designer."

She’s responsible for the image of MALICE MIZER after their revival. Under the name of costumes, accessories, and hairstyling, she handles everything from patchwork to welding (pay attention to KAMI's hands this time) to even the stage props. Can we really call her a "designer" or "costume person" in just one second?

However, as I was agonizing over this, Ōba-san spoke enthusiastically, saying, "This part was really difficult, look at it! Oh, and here too..." She talked joyfully about how she changed the fabrics little by little and factored in lighting effects. She said with a laugh, "People often tell me, 'No one will notice you went that far,' but I love doing it." Through her words, I understood one thing: Ōba-san doesn't care what she's called, as long as she can create costumes. It’s her passion. That's why such lively, remarkable costumes are born from her work.

Mana

Mana had told me, "I imagine the feathers gently falling off!" (laughs). It wasn’t meant to change that much, but after making it, I thought, "I want to make it cuter," partly because too much of the legs were showing. I used a fabric called washer organza for the feathers, and also incorporated it into the underskirt, creating a tutu-like effect with about four layers to add volume. The pom-poms were something Mana brought in, saying, "I want to attach these somewhere," and when he attached them herself, she said, "It's cute!" (laughs). Actually, he also made the wig and chains with his own hands.

The butterflies on the wings aren’t real, of course (laughs), but I dyed each one individually. Even in places where it seems casual, there’s a lot of effort behind it (laughs). The fabric for the costume was something Mana requested, saying he wanted a luxurious material that looks like beads. I brought various options and he was especially fond of this one fabric because it’s very light. He even said, "It feels like I’m wearing nothing, this is perfect!" (laughs). It was a hit (laughs). As for the accessories, he said he wanted something with the feel of a wedding fountain with light shining inside it (laughs). I remade it several times to create something that bounces back when touched.

We also tore up light blue feathers and embedded them. We worked hard on even the smallest details that might seem like nothing at first glance (laughs). To make sure the guitar strap doesn’t get tangled, I discreetly made the wings detachable with Velcro (laughs).

Közi

Közi is someone who likes to plan everything from the start. When I first saw the design, I thought of a fiery phoenix, so I decided to make it based on that image. The fabric is the same as Mana's but in a different color. He said, "I've worn something like this before." This time, he wanted something that resembled a jumpsuit. Even though it has no elasticity, I went ahead and made it, but when he wore it, he said, "It's tight..." (laughs). Even though it was restrictive, he’s someone who enters the role through appearance.

The feathers on the chest were dyed with a gradient because I wanted to add that effect, but balancing it was tricky. While adjusting during the fitting, I mixed in red, which is his signature color. This jumpsuit also has Velcro to make it easier for the guitar strap to pass through. The accessories ended up looking very different from the design sketches because when we attached them to the sleeves, it made playing the guitar difficult (laughs). So, when we finished one sleeve, we decided to wrap it around his neck, creating a more luxurious design. The wings on his back are made from aurora film, which changes color depending on the light, appearing red or gold. The material is aluminum, making it very heavy, but the overall cohesiveness of the costume is strong, so he managed to play with it as it was. As for the strawberry hat, we added three-dimensionality using feathers, doubling its size at Közi’s request.

By the way, when he wears the costume, he’s 196 cm tall, from his shoes to the top of his head (laughs). All the members end up being around that height, right? So we make the inseam 100 cm. People always ask, "Who on earth is going to wear these?" (laughs).

Yu~ki

He had an image of a "beast" in mind, and even Yu~ki himself said, "This is quite an adventure." The skirt was actually his first try—a dress made of enamel, something we figured out together during the fitting process. It’s a double-layered design, with the back being longer and slits cut into it, creating this eerie look. The bones are designed to resemble human bones, adding shadow to enhance the effect. The back is made of two layers of umbrella-like fabric, with a sheer fabric sandwiched in between to create a shadow effect. At first glance, it looks like a single layer, but there's a lot of depth (laughs). In terms of time, his costume was the fastest to make because once Yu~ki decides on a design, he sticks to it.

Yu~ki, from the start, based his look on the initial image and always strives to get as close to it as possible. The hardest part was dealing with the enamel fabric's texture. Although we wanted it to look big, enamel has this shiny, slick look, so we used a technique like gathering to create a pinched effect, making it appear more three-dimensional, even under lights. This time, it's sleeveless, but the tattoos he recently got give it a good balance. However, it seems it takes quite a long time to paint his arms, which is a challenge (laughs).

Kami

For Bel Air, it seems that the design he envisioned was difficult to realize. This time, I adjusted the shape of the collar slightly upwards to make it easier to take off. Since taking off the costume was a concern, I incorporated his favorite Rurubar lace in two layers and embroidered it with CD sequins to give off a subtle shimmer, ensuring that the fans could see the light reflecting off it. The sequins were also added to the wings, inspired by his recent thematic focus. They create a fantastical effect, with a gradient from blue to purple as the light shines on them. The wings are the largest element, but they’re lightweight, which allowed Kami to say, "I want to perform while wearing them" (laughs).

For the headpiece, i dyed a cup and embedded black feathers as an accent giving it a mysterious shape that he can just throw on. Lately, he’s been wanting to wear a pink wig that he bought himself, but it’s a bit too intense, so I’m thinking of adding some mesh to tone it down (laughs). The overall concept was inspired by looking at an insect encyclopedia, specifically butterflies. Additionally as Kami insisted from the beginning, there’s a tail attached (laughs).

Gackt

This time, all the members wanted to have wings, so that served as the basis for the design. The members had very detailed requests, particularly Gackt, who was inspired by his favorite movie, The Crow. He wanted the outfit to highlight his beautiful body lines, so while the design is simple, it also needed to allow for movement. Ideally, I would have preferred a stretchy material, but I was determined to use cotton velvet, which has a dark and moody atmosphere, while also creating the effect of gold shining through the darkness.

The cotton velvet, combined with cut velvet, made sitting difficult for Gackt, but when the light hits it, the gold stands out clearly against the black backdrop. The wings, which he was very particular about, were designed in three layers. When closed, they fold up slightly, but when fully opened, they span 4 meters. For live performances, Gackt uses strings to control them, allowing the wings to spread open. The construction is sturdy, with hidden mechanisms for the strings, making the wings quite heavy. The wings were made using about four different patterns, and sequins were added so that when the light hits them, they appear three-dimensional. We used an incredible amount of feathers for the wings as well.

The end

Mana and Kami, capturing precious memories with their adorable photos from years ago such as posing in front of the Statue of Hachiko or in Shibuya in the Hachiko Family Mural.

Enjoy 💜💙

“People used to say we were heretical or something.”

“Rock is freedom.”

“Maybe Malice Mizer is pure rock in the sense that it breaks definitions.”

— So, you guys really got criticized a lot, huh?

Közi: Oh yeah, it was intense.

Mana: I often heard rumors like, “He hasn’t played guitar recently? Isn’t that kind of dangerous?”

Közi: And I’d be like, what exactly is so dangerous about that?

Mana: Rock is supposed to be about freedom, right? I mean, as long as it's for the sake of expression, I think it's fine to do anything. So the fact that people even think that’s “dangerous” I find that mentality itself kind of dangerous.

Közi: Exactly. So in that sense, what people call “rock” sometimes isn’t rock at all. Even if there’s something out there saying “this is what rock is,” I think real rock is about breaking that definition. That’s why I think Malice Mizer might actually be pure rock.

— Yeah, definitely in spirit.

Mana: Seriously, the feedback from live show surveys used to be so harsh. Like, “He doesn’t even play guitar anymore, he’s just happy wearing dresses, right?” I got told stuff like that. A lot.

— Whoa, that’s really rude.

Közi: Yeah, and when people who thought like that left, we didn’t try to stop them. But it was sad to be judged on just that one thing.

Mana: But who knows, maybe that same person who left back then is re-evaluating things now (lol).

Közi: Honestly, people tend to have such a narrow view of things , not just with music, but with everything.

— But at the time, you were desperately trying to express something through music. Still very much musicians then (lol). So, was the concept Mana had in mind back then already the foundation for Malice Mizer?

Közi: Yeah, it was. And that concept hasn’t really changed, even now. The name “Malice Mizer” comes from the idea of “malice and misery” , expressing the malice that lies deep within humans, theatricality, and the unpredictability of life.

Back then, we hadn’t developed the kind of staging we do now. We were closer to a traditional band, really. The music had classical influences, and we had twin guitars. Gradually we added in more theatrical elements. Even now, we’re still experimental , but back then, it was all trial and error.

— Were there any other bands at the time expressing themselves in such a comprehensive, theatrical way?

Mana: Well, we were part of the visual kei scene, sure, but I don’t think there were any others doing it quite like us. Probably not. There’s often this idea of “this is what a band should be,” but we really wanted to break that and create something new.

— So that was your youth…

Mana: Then I moved to Tokyo and became a madam (laughs).

— And that’s when you met Közi, during your “madam era.”

Közi: Yeah, Mana already had a well-defined style. I just kind of slipped into it. I thought, “Hey maybe we can create something really intricate together.”

— Did you listen to demo tapes back then?

Közi: Yeah. I also saw a video of Mana’s old band in Osaka. He was playing guitar like a rock , totally still (laughs).

Mana: Back then, it was all about the playing. I was still pretty inexperienced. I didn’t have any concept of staging or performance , it was just about the sound.

ESP Jeune Fille J:F-450

The model name is French for “young girl.” Its striking see-through blue finish matched beautifully with the elegant dresses it was paired with. From the logo on the headstock to the detailed position markers, every element reflects thoughtful design.

ESP Aka-Uzu-kun AW-550

With a see-through red finish that evokes the passion of youthful blood, this model features intricate inlays that seem to wrap around the body, and a swirling motif that gives it a sense of refined elegance. The name “Aka-Uzu-kun” carries a distinctly Japanese charm.

GIGS 1998

KOZI (MALICE MIZER) ASTAN - 2005 Vol.21

Translated by my cousin (corrections are always welcome)

Malice Mizer: MALICE (MALEVOLENCE) AND MIZERE (TRAGEDY)

A comprehensive biography of this band, which is second only to X-Japan in importance within J-Rock or Visual Kei, would be too extensive. Here, we will focus on the period starting with Gackt's entry into the band.

Malice Mizer was founded in August 1992 by Mana and Közi (Kouji). After several line-up changes, the band consisted of: Gackt (vocals, piano), Mana (guitar, keyboards), Közi (guitar, violin), Kami (drums), and Yu-ki (bass) starting in August 1995.

Shortly thereafter, the group released their second album, "Voyage (sans retour)," marking a first step toward superstardom. The musicians' popularity steadily increased, attracting the attention of major record labels. Thus in 1997, MM signed with Columbia in Japan. Their first single, "Bel Air kuhaku no toki no naka de," was released followed by TV appearances and radio shows as well as the famous concert at Nihon Budokan.

In 1998, "Merveilles" was released. Malice Mizer was at the peak of their career, embodying everything associated with superstardom. Fan displays overshadowed anything conceivable, and Gackt could undoubtedly be referred to as the most popular Japanese show star at the time. The concerts were elaborate events, with costumes and staging that surpassed everything seen before. However, the fractures within the band were unmistakable. While Gackt seemed to thrive in the J-Pop Olympus the remaining members were striving for artistic quality. Disputes ensued, resulting in Gackt leaving the band in January 1999. As if that weren’t enough, drummer Kami passed away later that year due to an arterial brain hemorrhage. Following Kami's death, on September 21 1999 the band decided to take a hiatus.

Their fourth album, "bara no seidō," was released in August 2000 under an indie label, Midi:NetteM+M which was the newly established label owned by the band. The album "bara no seidō" is an epic work, heavily influenced by German classical music. Choral passages and long instrumental sections elevate this work to classic status. The trio of Mana, Közi, and Yu-ki experimented on this album without a fixed singer or drummer. This is undoubtedly the most impressive and monumental work by MM, although its reception from the audience could have been better. Perhaps under this impression, the band decided to recruit a new singer, Klaha, in August 2000. The sound shifted towards an epic and darker rock sound. With Klaha, MM returned to catchy melodies, though they were far removed from the J-Pop of the Gackt years. In my opinion, this is the best, albeit temporarily concluding, chapter of the group.

A few singles were released afterward. The last tour took place in July 2001, after which the band disbanded. Klaha began his solo career, Közi is currently active as a solo artist and as a member of Eve Of Destiny, while Mana has become a well-known figure in Japan with his own fashion line and Gothic Lolita shops. He continues to be active as a musician in his band MDM. Yu-ki is no longer prominently involved in music.

It’s also essential to look into the successor bands of Malice Mizer. I can't find anything appealing in Gackt and Klaha's solo works. I really enjoy Eve Of Destiny, as well as everything Mana releases to the public. EOD is an industrial goth band; Mana is much heavier but also more classical in orientation. Közi's solo work sounds very relaxed and somewhat French, although he writes in English.

I have met Közi several times and found him to be a somewhat shy and introverted man. However, he is a very nice guy. But that’s just a side note. What fascinates me is the band's fluctuating musical trajectory. By the time Gackt joined, the typical "growing pains" of any group had settled, and a first creative peak was reached with Gackt. The time with Gackt was the commercially most successful period, and the concerts were a dream visual event. The costumes changed multiple times during the show, and the staging would be compared to German theatrical productions.

Part 2

Groups like Rammstein would turn green with envy. Musically i find Gackt quite uninteresting. He knew how to present himself well in the spotlight but that’s about it. Gackt after Malice Mizer is nothing more than slimy, sweet-and-sour J-Pop. A nod to Herr Rohlen. Artistically an MM album like "bara no seido" is much more impressive. Some elements remind me that both Mana and Közi are great admirers of the German composer Bach. This influence is unmistakable. These influences, combined with Közi's and Mana's magnificent guitar playing, elevate "bara no seido" to a masterpiece for this group. The musicality of Malice Mizer is one of the outstanding characteristics of the Japanese band. The range of instruments spans from the standard instruments of a rock band to very European instruments such as clavichord, spinet, violin, or accordion. One might think that nothing catchy could emerge from this, but that is precisely one of the band's strengths.

Each song is assigned a style and a color. Mana represents the color blue, in which his clothing is designed. Mana is an imposing figure who can only be described as beautiful. When I first saw a video by MM, I thought the guitarist looked quite good. Not to mention, the guitarist is a male. In Japanese tradition, it is not so unusual for a man to appear feminine. Mana gives few interviews and hardly speaks in public, yet he is the creative mind behind Malice Mizer. He has perfected the Gothic Lolita style and can be understood as the counterpart to Gackt. Gackt does not wear white makeup and is considered by a large part of the female MM fans to be the quintessential fairy tale prince.

Közi represents the color red. He appears quite androgynous as an MM member. At the same time, he is aloof, reserved, and doll like fragile. Kami represents the color purple and Yu-ki represents yellow and/or orange. Noteworthy about him is his occasionally drawn-on occasionally real beard. Klaha’s color is either black or white. He later takes on Gackt's role but is much more masculine and less boyish than Gackt.

The look of this group. Malice Mizer seems to change costumes like others change underwear. It’s incredible how tastefully and stylishly Malice Mizer dressed and presented themselves. The staging on stage and in the videos is trendsetting and has not been achieved by any group known to me before or since. The transition from a metal band to a VK group and ultimately to a heavily Gothic-influenced act is marked by significant breaks. Yet, one can always recognize Malice Mizer's typical sound. For anyone who is now curious, I strongly recommend checking out the live DVDs or the group’s videos. Personally, I really enjoy the videos and music from the time with Klaha. The videos with Gackt are more colorful, vibrant and playful. I can recommend all DVDs from Malice Mizer.

The End

STYLE MALICE MIZER

The act of "expression" is not something exclusive to a specialized field. For artists and creators involved in music if we were to put it simply, it is a means of offering hints and proposals that are deeply rooted in one’s personal sensibilities.

This series serves as a method to refine and cultivate those sensibilities in other words, it is a means of expression itself. Life itself is a style.

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Photography = Yohsuke Komatsu (印), Saori Tsuji (◇印)

Featuring MALICE MIZER

Guest = MALICE MIZER

Text by Kazumi Kanoh

Composition = Kazumi Kanoh

Photographs by Yohsuke Komatsu, Saori Tsuji

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ADDITIONAL SORROW

At first glance with their extravagant costumes and makeup, they may appear to be a theatrical troupe. At their live performance at Nippon Seinenkan in January of this year the stage was set in a medieval European aesthetic, reminiscent of a scene from a play.

The performance they delivered far exceeded the confines of a traditional rock band. With a spectacle that was breathtakingly opulent, MALICE MIZER has now drawn attention from various fields.

What do they think?

Where are they headed?

While retracing their past and present, we explore the "STYLE" that is uniquely theirs.

[ORIGIN]

Mana: "MALICE MIZER was formed in August 1992, with Kozi and me at the core. From the very beginning our concept was based on an image of medieval Europe. Nowadays we’ve started incorporating more pop elements but back then, we were fully immersed in Baroque and Gothic influences. We also incorporated a significant amount of classical music elements."

Közi: "At first there were no French influences like there are now. At that time there weren’t many bands focusing on twin guitar arrangements, so we wanted to feature guitar driven music."

Mana: "All of our songs were dark in tone."

Kami: "But even back then, we experimented a lot with unexpected elements."

Mana: "Our vocalist and drummer were different back then as well. In May 1993, Kami joined, and from that point on, we started playing more live shows. At that time, we didn’t have the money to advertise so the only way for people to learn about us was through live performances. So we decided to perform wherever we could. At that time, our concept was still very medieval Europe."

Kami: "We were already doing a lot with the stage back when I joined."

Közi: "We’d incorporate something special into our openings. We never made a typical rock band entrance."

Mana: "Back then, everyone was playing their instruments for the entire set, so the opening was the only moment we had to do something unique. But that was also the most exciting moment, so we wanted to make an impact right from the start. We started incorporating stage sets after we began doing one man shows but even before that, we tried our best to recreate our envisioned aesthetic in live houses. Before we became a one-man act we often opened for other bands during tours and even though we couldn’t build a full set we still decorated the stage. We wrapped it in vines, gathered tree branches from the forest, and placed them on stage."

Közi: "Yeah we’d wake up in the morning and start cutting branches (laughs)."

Mana: "Exactly (laughs). We also organized a series of events called "Tragic Banquet", hosted by MALICE MIZER, where bands like PENICILLIN and SIAM SHADE also performed. At the time, many band-led events were happening in Osaka and Yokohama, but we felt like someone needed to take the lead in Tokyo too so we took the initiative (laughs)."

- Fool's Mate 090