MALICE MIZER

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 💜💙

MALICE MIZER

APRÈS MIDI

Live at On Air West '96.1.6

PHOTOGRAPHY: MOTOKO SASHII

REPORT: TOMONORI NAGASAWA

Invitation to a Lovely Masquerade

With the new vocalist Gackt joining them Malice Mizer made a comeback on October 10 of the previous year, performing a one man live show at On Air West. Everyone who witnessed the stage was shocked by Malice Mizer's transformed appearance.

Yes in expressing the world within their music they refused to limit themselves even to the traditional "band" format. Whether it meant mastering electronic programming, performing without instruments, or fully dedicating themselves to theatrical acts they were ready to challenge every possibility. If using their own bodies to express could bring them closer to the essence of their music’s world, then they would wholeheartedly embrace it.

SHOXX 118

Living

Loving

MALICE MIZER

The Glamorous Curtain Rises on Their Comeback October 10, Shibuya On Air West

This performance became a must see event of the year. Malice Mizer brought pride to the scene weaving stories into their theatrical artistry. Transitioning from tango to chanson and bossa nova they seamlessly integrated diverse genres and theatrical elements captivating the audience. The show began with an avant garde use of programmed music and strobe lights as the five members took the stage in a grand entrance.

In the third act which marked a few beautiful minutes of art, the memory of December 2 from the previous year lingered as Malice Mizer expressed love on stage. Ten months had passed since then, and though Gackt commented, "We play for the history of Malice Mizer," I still found myself unable to let go of this memory.

The new Malice Mizer live experience was exhilarating though it felt bittersweet to some fans who were deeply attached to their past work. As I walked toward the venue, the place already filled with a captivated crowd i felt the emotions building within me.

The second act, too, brought a different energy, with strobe lights flashing and familiar yet transformed melodies emerging. Malice Mizer appeared with a renewed artistic focus. The members, including Gackt, who stood brightly at the center of the stage brought a fresh and refined elegance. The serene sound of the fretless bass played by Yu~ki and Kami’s natural drumming provided a contrast to the usual highly staged performance of Mana and Közi.

When "Seraph" played during the encore Gackt sang with an emotional intensity that made his voice resonate deeply. Through this show a new era for Malice Mizer had undoubtedly begun. Their artistry had evolved, inviting fans into a world rich with passion and poised for continued growth.

(Text by Ichikawa Kazumi)

"I feel like we're searching for something beyond that."

In the end, it's about the greatest pleasure in this world— the joy, anger, sorrow, and all emotions.

Music itself comes from the flow of religion, right? Religion itself started from human sin, and I think it was built to overcome it and bring it to zero. Regardless of whether one believes in religion or not the desire to overcome sin is something that every human being has, right? What we do isn’t religious activity, but if there are expressions that seem religious, we won’t deliberately deny them. It’s a matter of how different people interpret it.

In live shows and albums, the emotions of joy, anger, sorrow, and pleasure of humans are included. If someone perceives something religious within that, it's a matter of their sensitivity. We don’t deny or affirm it.

Let's change the approach of the question regarding the term "religious." What if Malice Mizer’s fans, in the future, became the type of people who believe only in Malice Mizer, who have no other support but Malice Mizer?

"There are so many people and so much music, so it's hard to imagine a situation where it's only Malice Mizer. I don’t feel that way on stage," said Gackt.

Mana continued: "I rely on the audience more than they rely on me. I live every day in fear, and when I get letters from the fans, I feel saved."

Hmm? "Fearful..."?

"Yes, that's right. I can't say it directly, but there are hints. Please watch my segment in the TV special about Malice Mizer (those who recorded the video) and also look at the various drawings I make; it’s hidden there."

Mana has once again given a mystery, but Közi also agrees: "Like Mana-chan, I find healing in fan letters every day. Since our major debut, the pace of life has become incredibly fast." It seems that all the members get some form of power from fan letters.

Can the passionate feelings of the fans also be felt from the stage?

"On stage, I enter an unrealistic world, so sometimes when I look at the audience, my mood drops, so I don't consciously focus on it," said Kami.

Yu~ki added: "In the end, I feel like we’re searching for something beyond the greatest pleasure or feeling, something that encompasses all emotions— joy, anger, sorrow, and pleasure. It's like we're trying to find it together."

Gackt continued: "I think the meaning of standing on stage is different for each person, but for us, and for those who come to see us, we are mirrors. When we send out waves, they don’t just go one way, they come back. In that way, both sides discover and grow. Looking in the mirror means that I’m looking at myself. Sometimes, I see a better version of myself, someone who can do even more."

They send out waves from the stage, and the audience receives them.

Moi Dix Mois

Emperor of Darkness Stands in Europe

Have you already watched the live DVD DIXANADU Fated 'raison d'être' Europe Tour 2007 which captures the scenes from the European tour in October 2007? Focusing primarily on the final performance in France this work also features the atmosphere of the tour that visited eight locations in six countries. It gives insight into Moi dix Mois' popularity in the region and the 'heat' of the live performances can be felt through the screen. We spoke with the leader, Mana (G), about the contents of the DVD and his impressions of the various European countries he experienced firsthand.

― As we look back on the European tour let's talk about the live DVD DIXANADU Fated 'raison d'être Europe Tour 2007 which captures those moments. This tour took place in October last year and it was the first time you did something so extensive in Europe, right?"

"Yes, that's right. We went to six countries and performed in eight locations. Along the way the staff often mentioned how equipment would frequently break at the various venues. Apparently, that’s considered 'normal' over there. There were plenty of small issues like that but i’ve come to realize that if you let those things bother you, you won’t be able to tour in Europe or abroad. So recently, i’ve gotten used to it. I go with the mindset that something’s bound to happen (laughs)."

― So, I’d like to hear your impressions of each country you visited. Let's start with Finland, the first stop in Helsinki. It's a country that's also booming in the rock scene, right?

"Finland is home to bands like Children of Bodom and Hanoi Rocks, right? It was our first time there and i was struck by how rock is integrated into their culture. After the show, we saw a news program and they aired a special on rock music with footage from our concert."

― Wow, they featured Moi dix Mois on a regular news show?

"Yeah, that’s right. The cold, crisp atmosphere of Finland also left an impression. (laughs) We arrived late at night, so we didn’t have time for any sightseeing. That’s the biggest thing that stuck with me but the audience reaction was incredible."

― Finland’s government seems to be quite supportive of rock music, even promoting it as part of their culture, right?

"Ah...! Maybe that’s why. We were interviewed for TV, and they aired it during the night on a standard news program. I was surprised to see footage from our show being included in a regular news broadcast. But after hearing what you said, it kind of makes sense now."

― Next was Sweden, known as a haven for Nordic metal and melodic death metal. What were your thoughts before going?

"Before going, I had a strong image of Yngwie Malmsteen (laughs). I also had this vague image of beautiful scenery and a place I felt connected to. This was the only time we flew during the tour, and since we arrived during the day, the local promoter took us sightseeing. The area around our hotel was in the city center, and Stockholm was really lively. But if you walked a little further, the buildings and scenery were breathtakingly beautiful."

Zapping CD Track 24: Interview!

Gackt

"This time, the PV is based on the story of the song’s world."

15:58 - Gackt makes a magnificent entrance through the grasslands.

17:44 - Gackt gives direction to Jasmine, saying, "Relax and entrust your heart and body to me."

18:16 - A playful scene during filming for the engine shot.

"This song was originally created last year when I went to France to shoot a video. I was zoning out on top of a hill when the world of 'Le ciel' suddenly came to me. The version in the album and this version aren’t about which is correct; I think people will feel our emotions and the expanded worldview in this single. And for this promotional video, we wanted to portray the song’s world as a story. We spent a huge amount of time on the storyboard, and I think it changed about 14 or 15 times. By the way, Nagano is really a wonderful place, right? I’m having fun, and it’s been relaxing to film here."

17:03 - During a shoot for this magazine, Gackt asks, "Is this photo an extension of the PV or something separate?" showing his attention to detail.

16:04 - After checking the eyeline, they started the test. Five test takes, two main takes, and it was a wrap.

We enjoyed nature, including the various bird calls, but almost all of the staff were bitten by insects…

MALICE MIZER

Day 2

6:30 - 18:30 Filming in a pasture in Nagano was purely magical!

At 6:30 AM, the staff gathered at a certain location in Tokyo and headed to a ranch in Nagano. The scene was shot in a pasture where ordinary people are not allowed. That day, it was just Gackt and Jasmine appearing again. The two blended so beautifully into the landscape that it seemed almost surreal. On this day, they shot 20 scenes and 48 takes. After each take, they checked the monitor and discussed the subtle expressions and movements with director Muto. The attention to detail and the commitment to refining every shot was a testament to their passion as creators.

At 16:25, Gackt continued holding Jasmine, smiling wryly as he said, "I'm starting to sweat."

Director Hiroyuki Muto

"There's no one more interesting than them."

We held three full meetings with everyone involved. While respecting the vision of Gackt, who wrote the lyrics, we discussed everything as a team and created the storyboard. The challenge was to maintain the unity of the group while highlighting each individual member. Their concept is always clear, so it’s fun to shoot each time.

This is the third time that director Muto, who usually works in television drama, has filmed a PV for MALICE MIZER.

A completely new arrangement of "Le ciel Beyond the Blank Space"

Since their major debut in July of last year, MALICE MIZER has built a world of "merveilles" (which means "wonders"). To conclude the concept of this album, they’ve released this song. While the song was already included in the album "merveilles," this single features a completely new arrangement, making it even more dramatic. The track begins with a bass drum beat (with each beat at a different pitch) and has been meticulously crafted. From the beginning to its shocking ending, it’s a song meant to be played at high volume. (Released by Nippon Columbia CODA-16178, priced at 1,400 yen, released on 9/30.)

A studio where the entire set was completely rearranged in one night.

Yu-ki’s prop was a staff adorned with a crystal ball.

Day 4

9:00 - 22:00 Finally, the entire cast appeared, and it was simply breathtaking!

On the final day, the filming proceeded with Jasmine, followed by Kami. Initially, Kami was unsure of how to move, but gradually, his poses came together, and he finished within two hours. Then, at 16:26, the entire cast appeared. This was the only scene in the video where all the members appeared together, and the tension of the final scene made everyone assume it would take a long time to get an OK take (meaning the end time was undetermined). Surprisingly, though, it was completed in about 40 minutes with just six takes. Afterward, Gackt was filmed alone, marking the end of all shooting.

→ After filming, Kami took Jasmine out for a stroll in this very outfit to a convenience store.

13th Day, 20:56 - Yu-ki checking the oboe fingerings.

Interview!

Yu-ki

Even the other members were surprised.

"At 20:44 on the 13th, I was instructed by Director Muto to take on the image of a 'bad fairy.'"

"I’m trying to surprise everyone."

"It’s not just an ordinary promotional video. I want to capture the world of the song in a concrete way through the visuals, so I’m putting in a lot of effort. Regarding the costumes, this time, for the first time, we used 'white' as a theme, and each of us brought in our own ideas, trying to surprise even the other members. I think everyone had that feeling. I made my own headpiece, but I didn’t have any initial image for the makeup. As I was drawing, it just ended up like this (laughs)."

→ At 20:39 on the 13th, he checks his position during a makeup touch-up.

14th Day, 19:07 - Only two scenes left!

At 1:27 on the 14th, the director instructed, "Don’t forget your affection for her."

Yu-ki’s look was highly praised among the staff. On the 3rd day, he shot three scenes with five takes.

14th Day, 13:54 - Kami shows off a daring move, playing the sitar with a bow.

This song has the most emotion packed into the interlude.

Gackt appeared at 16:26 on the 14th day. The scene of breaking the flower was symbolic.

→ Even just standing still, Kami looks like a picture.

"This was the hardest shoot for me. There was so little movement (laughs). During 'Gekka no Yasoukyoku,' there was quite a bit of movement. Somehow, the movements feel forced. As for 'Le ciel Beyond the Blank Space,' I focused on the pacing, especially in the interlude. We mixed four types of drums, and for me, that part is packed with the most emotion. Some sounds don’t even seem like they’re from drums. In this interlude, I wanted it to feel like the emotions of all five members were clashing. Time off? None (decisively). We’re destined to keep running (laughs)."

Kami teaching Jasmine how to play the sitar.

Filming completed! Time for a commemorative photo!!

After the unexpectedly quick conclusion of the full-cast scene, at 18:38, the staff joined in, and they took a commemorative photo. Some covered their faces, and some turned their backs, but in any case, great job, everyone!

MALICE MIZER

"Rest of the aristocrats! Fans capture exclusive photos!! A new charm brimming in their post-concert appearance.

Please take a look at their rare unseen moments of rest.

The photo was given to me by a friend who used to follow Malice around back then. It’s from when i was just getting to know Malice so i couldn’t tell who was who without makeup. I even wrote their names on the back of the photo (lol). Looking back i realize how incredibly rude that was."

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

Kami

"On stage, I enter an unrealistic world, so sometimes when I see the audience, my excitement can drop, but I don't mean anything by it. By playing catch with the fans, we experience various things together to explore what it means to be human. Fans and Malice are like liquids, and in that, a formal relationship cannot be established.

From the 'transparent field' of 'Ville de Merveilles,' we are exploring one side of them but to be straightforward i try to ask Gackt about the meaning of the overall concept of the live performance. He often says that we get asked about the meaning of the concept but it would get confusing to talk about the answer if you don't understand the problems we are presenting. There's a time lag in our live performances and i think if you watch the performance you will understand what kind of problems we were presenting. Therefore, if you watch the next Budokan performance you will understand what it was last time. There, even if we don’t present the answer you may understand what the theme was. It might be something that you can’t grasp, because it depends on how a person feels. It's not just about watching the live performance having fun and that’s the end of it.

Mana also continues the conversation. 'There might be secrets on the top floor of Budokan. Malice is linked in various places...'

In fact, after this interview ended, Gackt asked me, 'Do we say too many things we can't say?' That might be true but conversely there may not be any other band that provides this much enjoyment in unraveling the mysteries. It could be said that they offer the joy of thinking together with them.

They have held the same unchanging theme of 'what it means to be human' since their formation, but i think they are trying to approach this grand theme from different angles in each part of their activities. If we compare it to a role playing game, if the mysteries scattered around the map were too easy to solve the game wouldn't work. The important thing is to think together with them, to send back the ripple as a mirror and the answer will come later.

In the album 'mer・veillea,' which will be released on March 18 various waves are included and the abundance of 80's electro pop style arrangements caught my attention. When i asked Mana who frequently mentioned the term '80s' this time , about it he responded, 'There is a bit of meaning in the number 80.'

This also allows the listener to imagine more. Finally, I will record a few more words from Gackt to stir even more imagination:

'Ville de Merveilles' is not just something futuristic. The beginning and the end are always back to back.'"

Hibiya Outdoor Music Hall 2 DAYS Concert Sold Out on the Same Day!!

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