January 2009 by Askew Music Media

Askew Magazine is printed in the USA, and is owned by Askew Media Inc. The issue you are holding was published in January of 2009 and is issue number 01. Askew Media Inc. is based out of Las Vegas, Nevada with staff members located across the world. For more information about our company or to inquire about advertisement rates you can e-mail us at publisher@askewmagazine.com. We would be happy to answer your questions. All artists interviewed appear courtesy of themselves and or their record labels with permission. Photographs are either owned by them, the photographer, or Askew Media Inc. They are not to be used without such permission. Askew Magazine would like to thank Pia, Electric Orchid Productions, JRockNYC, Kirsty Evans, Jimi, JSHOXX Radio (We love you long, long, time baby), Reina, Laura Witzig, Sharon Wong, JrockNorth, Lisa, Johnathon Mooney, and everyone else who supported us along the way. Wouldn’t have been possible without you. We’d also like to thank each and every person who’s sitting here reading this page. A publication is nothing without an audience.

CO NT E NT Interview by Reina Hoshi

MUCC:

P.14 Interview by Kellie Lacey

Sugar:

P.18 Interview by Lillia Tombs

Kaya:

P. 19 Interview by Bridget Wu

Gearbox:

P.20 Featuring Hiroki from D

Suicide Ali:

P. 22 Interview by Bridget Wu

P.6

Camino:

Juno Reactor:

P. 23

GLAY:

P.24 Introduction and images from the San Francisco show.

The Women of Visual: P. 28 Featuring Araune

Spectrum-X:

P. 30

Celestia LeCiel:

P. 31

P. 32 Interview in SF by Rubab Rizvi Concert coverage in LA by Holly Interlandi P. 36 Interview by Laura Brickman

Unicorn Table:

P. 42

Psychic Lover:

P. 44

Anime USA: Event coverage

Dir en grey - Uroboros

P. 52

From the Ground Up:

Fashion Content:

P. 60 Our winter coat finds, and product reviews by Kathleen Smith.

Reader Survey:

P. 62 Fill it out to get a free poster!

P. 46

Album Spotlight:

2008 Awards:

P. 58 Indie bands feature by Evan Benner

Dj. SiSeN:

CON TR IBU TORS

Rentrer en Soi:

P. 50

JrockNYC http://jrocknyc.blogspot.com/

Irene Y Chan

http://irchanart.blogspot.com/

What was your first impression about America or the fans? Every time you come, does it change? Mika: My first impression is very passionate and enthusiastic. Every time I go, I like it even more. I wanted to go visit many more times. Takumi: I’ve always wanted to go to America; so, I was simply happy. I like the part where everything is big. Every time I go, I learn just how big it is. Shun: Very passionate. Ryo: I noticed the temperature was different. Satsuki: First impression was ‘passionate’. And every time I go, it gets even more enthusiastic.

A lot of bands have been coming to America lately. How does that feel?

Mika: Even overseas, the Japanese perspective and emotions being accepted, and being understood, makes me really happy. Takumi: I think that it is a good thing. Ryo: I think it’s a great opportunity for exposure. Satsuki: I think that it is a joyful thing for Japanese culture to be exposed overseas.

Apart from the part you already have, have you ever wanted to play another instrument? If so, what instrument or part is it?

Usually, I am covered in sweat so, I’d 8 Mika: like to try a part that will let me stay away from breaking a sweat.

Takumi: I really wanted to be a drummer at first. Shun: Bass. I actually used to play bass at concerts. It just suits me. Ryo: Nope. Satsuki: I play a little bit of guitar and drums. I want to try the saxophone.

What did you want to be when you grew up?

Mika: Chef. Takumi: (Pictorial) Artist. Shun: Programmer. Ryo: I wanted to have a job that no one else had. Satsuki: Singer.

Recently, what did you receive as a gift that you liked? Mika: Accessories and cologne makes me happy. Takumi: It’s a secret. Shun: Guitar. Ryo: Alcohol and silver accessories. Satsuki: I receive accessories quite often and the ones I like, I wear for concerts and photo shoots.

Since you started the band, has your perspective of the world changed? Mika: My perspective has grown greatly. I can see more things now. Takumi: To bring the world inside the CD to real life, treasuring the passion created at concerts was changed in me. Ryo: At the start of the band’s inception, we

were intent on the ‘beauty’ or the ‘intensity’ of our appearance. But, we’ve come to bring out the intensity from within us now. Satsuki: I learned how to better express myself as an individual.

Can you brag about your band members about anything in particular? Ryo: There are things each member can brag about. Mika: I can eat oily foods right after waking up! Takumi: Satsuki; I feel as if he has everything that I lack. Shun; Guitar playing is very sturdy. Ryo; Has the mind-set of NO FUTURE. Mika; His drumming is absolutely wonderful. Shun: Satsuki; Wonderful voice and expressive power, also emotions. Takumi; Talent for composing wonderful music. Ryo; The way his lifestyle just oozes out. Mika; His original emotions, and flexible thoughts.

If you could be another member, who would you be?

Mika: Ryo. In his free time, he seems to wander around. Takumi: Mika. I want to be buried in my drum set. Shun: Takumi. I’d like to learn the way he plays his guitar. Ryo: I like myself.

Can we expect a new project in the near future? Mika: It’s a secret.

were ‘returning to one’s self’. Takumi: Basically, all the remixes I do, everything but the vocals is changed. Shun: To add more essence when I feel it’s necessary. Ryo: They’ve been refined for the better. Satsuki: We were looking for a way to complete the theme.

In the BEST ALBUM, AIN SOPH AUR, which songs did you chose? Was there a problem in choosing?

Mika: If possible I wanted to be able to record about 70 songs on there, but even with some limitations I think that it has become a well-balanced piece. Shun: There was a lot of songs to choose from, so it took a long time. Satsuki: As a band, we chose from the songs that the fans voted for.

How is RENTRER EN SOI different?

Mika: RENTRER EN SOI is a very isolated existence. Ryo: I’ve never thought about it really. Shun: We don’t really think about that. It’s up to the people who listen to our music to decide.

With the reaction regarding your disbanding, did your goals change? Mika: Not particularly. But hearing, “Keep drumming!” made me really happy. Takumi: I don’t have any plans, but I’d like to do something. Shun: I don’t know yet, I can’t think of it. Ryo: No, you can’t expect anything. I haven’t thought of anything yet. Satsuki: Please look forward to it.

In the future would you ever hold an interest in different genre? Mika: Even though there have been complications, I still like Visual kei. Takumi: Of course. Right now, I want to have different sorts of interests. Shun: I don’t know yet, I can’t think of it. Ryo: I am interested in having different genres. Actually, I already do have an interest. Satsuki: Yes.

Of all releases, which can you be most proud of?

Mika: The songs in MEGIDDO, because it brings the completion of RENTRER EN SOI. Takumi: “Shinwa”. I felt even when I composed other songs, there were a few times that “Shinwa” couldn’t be beat. Shun: “TO INFINITY”. Reason being: my intuition! Ryo: I can be proud of every song. Satsuki: STIGMATA, because I like it [laughs].

In your discography, there are quite a few different versions of each song. Why is that? Mika: To open up their perspective and we

How did overseas fans leave an impression on RENTRER EN SOI? Mika: There was enough impression on me that it changed a bit of my perspective of the world. Takumi: That they were very passionate. I was happy to have experienced the difference that I would not have been able to in Japan. Shun: I was happy when I found out there were so many people waiting for us overseas. Ryo: That there were fans out there in the world. They were especially passionate. Satsuki: Enthusiasm.

What topics had the most influence on the lyrics? Mika: Please ask the Prince. Satsuki: What I feel as I live.

Who is someone that inspired you the most?

Mika: The other me, down deep inside. Takumi: X Japan Shun: There’s too many that I can’t just say one in particular. Satsuki: Kyo (Dir en grey)

Looking back at your albums, one by one, how do you think you have progressed?

Mika: We were very young but we did our best. Takumi: I can’t look back and see it as an obstacle. Shun: Each work has changed us a lot.

Satsuki: Challenged each work as an obstacle to overcome.

As for your appearance, how do you think you best represented RENTRER EN SOI? Mika: Jikokaiki (Return to one’s self) Takumi: What looked best with the song at the time. Shun: To make a portion of the song into something you can see. Satsuki: Appearance in which the lyrics were expressed.

What do you think that you will miss the most as RENTRER EN SOI? Mika: I don’t know yet. Takumi: I don’t know yet. Shun: To not be able to play music as the five of us. Satsuki: The members. Ryo: No more rehearsals with the members. Or to go overseas again.

What do you think you won’t miss? Mika: I still don’t know this one either. Takumi: I don’t know yet. Satsuki: Deadlines.

What kind of legend do you want to leave for your fans whenever they think of RENTRER EN SOI? Mika: If we are still echoing in their hearts. Takumi: I will leave it up to each and every one of you. Shun: If there is any sort of remembrance of our songs inside of you all, I don’t mind what kind of impression it is. Ryo: I think it’s different for everyone, and that’s fine with me. Satsuki: The eternal scenery.

Do you have any messages to your fans?

Mika: I wanted to go visit more. But, I have an important impression from you guys. Thanks! Takumi: Thank you. When I make new music some day, I’d like for everyone to listen to it. Shun: Thank you. If we can all meet again somewhere, let’s meet again. Ryo: Thank you for the wonderful time. Satsuki: Thank you for supporting RENTRER EN SOI till

the end.

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Interview by Reina Hoshi

Intervi

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Kellie

Lacey

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v v v Interview by Lilia Tombs

- How would you introduce your music to people who haven’t heard you yet?

It’s original music (made by) complexly uniting jazz, rock and progressive music. - Your music is very jazz influenced. Have any of you ever been in a jazz band?

Although jazz is a very interesting genre, we haven’t been in jazz bands before.

- What is the meaning of the album title “Re:261156 addere”?

It’s a combination of the release dates of the three songs, “Jifu”, “Berry” and “Memento-Mori”, and the word “addere”, which refers to the addition of the two new songs included on this album. We wanted to put out (a CD) with the nuance of the past and present. - Why did you decide to release a request album?

Because, as with the meaning of the title, there was a lot of demand for it from our audiences. - Will you be releasing more songs in the style of “antlion”?

We’re thinking about continuing to try and get an acoustic style if we can.

- People sometimes compare you to other

bands from Nagoya, such as deadman. What do you think of these comparisons? Have those bands influenced you at all?

people have assumed we’ve been 18Since influenced by them since the begin-

ning, we don’t think badly of it. Also, although I think we’ve been influenced by a lot of bands, because it’s just one part of the whole that’ll always be SUGAR, I can’t explain how. - Do you think using metaphors etc. is a good way of softening and somewhat toning down the sometimes erotic things you write about?

Loki: Basically, I’m indirect...because I’ve liked so-called “metaphors” from the start, I think it became like that naturally. I do, of course, take themes from literature, and also I combine it with various experiences of my own.

- Does lyrical inspiration come from your own personal experiences, or do you use your imagination?

Loki: I write whilst combining things from experience and from my imagination. I’m not biased by just one of them. - Do you make PVs to promote your music or do you make them for artistic purposes?

It’s both.

- You recently made an official page on MySpace. Why did you decide to start using this site?

We made it because we want people from all over the world to be touched by SUGAR too. - SIZNA, what is it about Eric Johnson that makes it your dream to collaborate with him?

SIZNA: I feel inspiration from his ambitious mind speaking through the tones of original sounds. - Atsuto, what do you take inspiration from?

Atsuto: I’m really influenced by Steve Gadd. - Shingo, who are you influenced by?

Shingo: The bands I like are Limp Bizkit, Stevie Salas and Shakatak. The artists I’m influence by are Victor Wooten and Ikuo. - How have things been in SUGAR?

Shingo: SUGAR is a place for me to learn and also a place to show what I’ve done. It’s good because it’s really stimulating. All the fans have helped me with their smiles too, and I think they’ve welcomed me. - Which countries would you like to visit?

Loki: I want to go around the countries of Europe. Personally, I’d especially like to visit the Czech Republic, but that’s not in regard to lives. SIZNA: Germany. Shingo: I want to go to place like Europe. I want to try the food, and with regards to music, there seems to be a lot of passionate people and I’d like to do a live there of course. Atsuto: America

What kind of instruments do you play or would like to play?

Hiroki Drummer for D 4First of all, what’s in your drum kit?

Drum set: TAMA Star Classic Maple Tom 12 &14, Floor 18, Bass Drum 24 ×2 Cymbals: Sabian PRO Series Snare: TAMA Brass Shell 14 4What brand and size of drumsticks do you prefer?

TAMA Hickory 214B 4Do you use a special kind of drum key?

I use a store-bought TAMA brand.

4Do you feel there is a predominant drumming style

in visual kei? I don’t know about any styles per se, I just play in my own personal style.

4How did you get your first big break into music?

When I met the other members of D.

Gaming.

4Drums take up the most space in a band. Where

4What’s the latest book you’ve read?

4What interview question do you wish people

did you set up your first kit? In my own bedroom, back at my parents house. 4What do your parents think of you being a profes-

sional drummer? They seem to bragging about it [laughs].

4What was the very first band you remember

listening to a lot? BUCK-TICK.

4Who was your first favorite drummer?

Pat Torpey of Mr.BIG.

4How did you come to admire him?

I was really captivated with his heart-warming drum style. 4Who is your current favorite drummer? Why?

Mike Portnoy of Dream Theater. His work is godlike! 4When you were younger, what musician did you

want to grow up to be like? Why? I wanted to become a musician that would be adored. Because it was my dream that the opposite gender would say that I’m “cool”!

Shinigami no Seido (Precision of Death, by Kotaro Isaka) 4PC or Mac, and why?

I’m a Windows person; when I first got my PC, Windows came with it so that’s what I use.

would ask, but they never do? I’m the type of person to say everything I want to say, so there isn’t anything in particular.

4What’s on your iPod right now?

D, KODA KUMI, Dream Theater, Mr.BIG, and DEAD END. 4Do you enjoy making music videos? Please tell us

something interesting about making them. I love it, because D is a band with a serious outlook on the world. So I guess it’s funny when I run around recklessly? [laughs]. 4What do you find annoying about making

music videos? The most annoying thing is dealing with weather changes at our shooting locations. 4Please tell us an embarrassing story about one of

your fellow bandmates. One time a policeman found a prop sword we used for a photoshoot stashed in Hide-Zou’s car, so they took Hide-Zou in for questioning because they thought it was a real sword; I had to go in and vouch for him that time to prove it was just a prop. 4Besides music, what other interests do you have?

Interviewed By: Go [JrockNYC] D : http://www.d-gcr.com/

You guys just wrapped up your autograph and photo event downstairs... All: [Laughter] Goshi: When we woke up, we just found ourselves headed there. It was a whirlwind. How do you feel about the fans’ reaction to you? Goshi: The fans here are open and forward, so it feels good to see their reactions. How did all four of you come to meet and form Suicide Ali? Hiroshi: Goshi and I were childhood friends. Yuu: There was a time we were doing stuff not as a band, but having food and hanging out with Hiroshi and they were talking about forming a band. Hiroshi begged me to join. Hiroshi: I never did any begging! All: [Laughter] Yuu: This is when I reluctantly introduced a drummer, Hisashi. He called me up and reluctantly agreed to join. Hisashi: [Shyly] Yeah.

Interview at Pacific Media Expo by Bridget Wu

What does the name Suicide Ali mean? Goshi: Suicide Ali is the title of a fictional book with characters that we are supposed to assume in performance. This book is about the story of life as a journey toward death. By having a noble way of finding one’s death is what Suicide Ali is about. Can you tell us about your instruments that you play? Yuu: My guitar was a custommade creation from a Japanese company called Zodiac, and it was custom fit for my hands. Do you have any big musical influences that impact the way you approach music? Yuu: For me that’s Randy Rose, Kurt Cobain, Ozzy Osbourne and various Finnish bands. Goshi: [Very dramatically in English] Ozzy Osbourne. Marilyn Manson. PJ Harding. Hiroshi: I was first inspired to get into music and start a band by my favorite one, X Japan. I’m also a fan of Motley Crue and Metallica, and I really like Buck-Tick and various other visual bands.

What are the predominant themes in your songs and performances? Yuu: I try to do my stage performances while still giving myself a lot of freedom with my guitar. Otherwise, I’m very liberal and diverse onstage. Goshi: I like to reveal my inner side, so I like to perform in a way that reflects my true nature. Hiroshi: I like to be very physical with my expressions on camera and on the stage. Hisashi: I care that I feel good and that the audience feels good. What were your best and worst school subjects? Yuu: My best subject was going to the school nurse and my worst was pretty much everything, especially physical education. That’s why I needed to go to the nurse. Goshi: I hated all subjects in school, but I had good grades in physical education and music. Hiroshi: I was good at art, especially drawing. I was very bad in English. Hisashi: I was very interested in Mexican topics. I wasn’t very good at math. What do you like about the band member to your right? Hisashi on Hiroshi: He’s good at looking after others, and I will be vague about his bad parts. All: [Laughter] Hiroshi on Goshi: He’s a very original guy and comes up with ideas I could never think of. Goshi on Yuu: He’s very honest about his emotions. Yuu: You’re mean! Yuu on Hisashi: He’s modest and reserved. He also loves hard rock and metal. It matches my preferences, so it’s good. All: [Laughter] What is your favorite Suicide Ali song to play? All: Favorite Song! Goshi: Road of the wing as well. What is your favorite fast food? Hisashi: I like hamburgers a lot. Hiroshi: Teriyaki and burgers, or teriyaki burgers! I like them. Goshi: [In English] French fries! Yuu: I like the “free smiles” for

zero yen that McDonald’s offers on their menu when you go in, especially if a pretty girl is working there. Do any of you have special pre-show activities? Yuu: I like to practice and play funky things on my guitar. Goshi: I like to have a quiet moment alone. Hiroshi: I often stretch, and I like to look at myself in the mirror. [Winks]

Hisashi: I like some quiet time. If Suicide Ali could perform anywhere, where would you like to go? Yuu: I would like to go to Finland. Goshi: Anyplace where there is an audience for us. Hiroshi: Anywhere that would want us to play. Hisashi: The moon. [Laughs] Would you like to give any advice to young people who aspire to be musicians or follow similar careers? Yuu: I would need advice myself at times! I guess my advice would be to be willing to consider and accept advice given. Goshi: Trust your inspirations. Hiroshi: Have confidence in your ideas, no matter how strange they are and don’t be afraid to take action. Hisashi: I think as a drummer for rock and visual performances, you have to bang out and act louder than everyone else to stand out because the drummer is always in the back. I think this is how to get noticed.

Camino has been together for quite a while, correct? How many years has it been? KIKU: It’s been about two and a half years now. How do you think you’ve changed as a band over that time? KIKU: Everyone has really grown up. You’ve also been playing many shows outside of Japan. What number is this one? HAYATO: I think just right now is important and not which number this show is. If you could have picked a favorite show, where and when was it? Why? KIKU: In 2004, we went to Houston and San Jose. The audience was incredibly hot! How has playing abroad affected you as a band? TAKA: I really came to understand what “Music crosses all borders” truly means. What are your best memories of traveling abroad? KIKU: There was such a humongous crowd, I was stunned! I can’t believe how big it was! What was the most amazing fan gift

you’ve ever received? RYOSUKE: Once, we all received Armani rings as a gift. It was really cool! What is the funniest thing that ever happened in front of your fans? KIKU: In the middle of our concert, someone threw a pair of women’s underwear on the stage! I was so shocked they did that! Do you have a “band concept”? REHIT: Love and ROCK’N ROLL!!! What are each of your musical histories? TAKA: Well, everyone has their own long list of musical history, so it’s a lot to talk about! [laugh] What are your musical influences? KIKU: Van Halen TAKA: Ozzy Osborne REHIT: Dream Theater RYOSUKE: Madonna HAYATO: Red Hot Chili Peppers What is your writing process like? HAYATO: For me, generally, I have to be relaxed and calm when I compose music. Which of Camino’s songs seems to be a fan favorite right now? HAYATO: I think right now it would be [STORY]!

It is hard to talk about the great colorful history that surrounds the generation of bands that came before our own generation without giving a deep nod to the boys of GLAY. They are one of the few bands of their era that is currently still active and enjoying the same level of prestige that led them to this point. Their ability to overcome the general adversities of the volatile music industry on their own terms has paved the path for many of the bands that follow them. Their style is only categorized by its lack of foundation within any true category. With a style too hard to be pop, yet too easy to be rock, their unrelenting efforts birthed them through a tumultuous early history of inability to find an audience. Live houses more often than not turned them down, and the ones that didnâ&#x20AC;&#x2122;t took the brunt of a dwindling fan base. The band members were often left to wonder if the efforts were really worth it. When Jiro joined the band, they started developing more of a visual image and gained a quick influx of fans.

Yoshiki took notice when seeing them perform at a live show and offered to sign them to his label, Extasy Records. They were not quite sure about Yoshiki at first, young and nervous, but smartly took the deal. GLAYâ&#x20AC;&#x2122;s success in Japan soared. They have gone on to produce a long line of hit songs, many of which received awards aplenty. Their popularity became so great that in 1998, while fans were trying to order tickets for their new tour, Japanâ&#x20AC;&#x2122;s telephone service temporarily went out of service under the traffic. Their later contract transfer from one company to another became the most expensive in the history of Japan. In 2008, they performed their first shows on US soil. Long-time fans and the curious alike got an opportunity to catch the rock gods in an intimate atmosphere in both San Francisco and Los Angeles. We are not yet sure if GLAY has any plans for dominating the world stage. There were only a few shows with little domestic coverage. However, we are quite sure that if they wanted to, there would be little doubt regarding their success.

Images from the San Francisco show courtesy of GLAY Special thanks to Kirsty Evans

January Feature : Araune Questions with Korota What was your start in music?

We wanted to use our own energy by putting together a band to create our own music; as for me, I bought a guitar when I was in middle school and taught myself how to play.

Which female musicians do you admire?

There aren’t a lot of female band members in Japan. Thus, we want to become those artists that other aspiring female musicians can look up to! We’ll do our best!

Is it more difficult to be a female artist compared to a male? In regards to the Visual Kei genre, it seems women can gain male fans at a performance. Even so, it’s not that easy. What we really want is an audience to look at the content of our music instead of our gender.

Are most of your fans male or female? Mostly girls. But we’re glad if we can be loved equally by both genders.

Are there advantages to being a woman in the music industry?

Of course there aren’t a lot of all-girl bands, but all that we can picture is the possibilty of creating a new thing without precedent. I think that’s our greatest advantage. Other than that, I suppose it would be a lot of condsideration and modesty and such on the part of being a woman.

realized he was a serious person, that works hard for bands he likes and has a lot of passion for what he does. After months of talking, he asked us to be with Darkest Labyrinth, and he wrote all the guitars for our first release with the label, Darkest Night Ever, our second album. What did it feel like being signed onto a Japanese label? S-X: We just love Japan, but yes, who doesn't?? Everyone loves Japan, especially in Europe! Besides that, we appreciate the professionalism, the high-quality job on the music but also the friendship that we established with the Darkest Labyrinth people.

How did you two meet? How long did it take? S-X: We met due to mysterious circumstances... if I tell that, it would not be mysterious anymore, right? Let's say it was destiny and Spectrum-X is more than a band, its a creature and it found us, it found us even if we both were living one on the other side of the world compared to the other! How hard was it to adjust to life in a completely different country? S-X: I do not think it is difficult to adjust to life in a different country, perhaps if I was a normal person it could be a possibility... but that is not the case. The only thing that is difficult is when you go into a shop looking for an item and not being able to find it... some countries have different habits/eating habits as well. Personally though when we went to Japan, we found absolutely anything we wanted to find. What languages do the both of you speak? S-X: English and Italian.

What are the advantages of being signed onto a label that is in Japan instead of a label that is in your country? What are your favorite our minds and soul only. We S-X: Uhmm personally... we bands? really feel and experience never found a serious indie label S-X: I could just make you a strange things in our everyday in our country that works as hard list of bands now, bands that life without taking any drug and with as much passion as the we used to listen when we we at all. We think the real art Japanese. were younger and before we comes from what you really formed Spectrum-X, seeing as are. If you need synthetic help, What was it like touring Jafor now, we don't have much its bad.... pan? time to listen to other bands S-X: Like being in a dream... beside ours. But, there are It is absolutely natural and it Japan is the beauty of the cities, two groups that we still enjoy takes us a very short time to the millions of lights at night, listening to: Moi Dix Mois write a song. Once the skelthe colorful taxis (laughs), the and Sopor Aeternus. Sopor eton of the song is there, of delicious food, and the kindness Aeternus in particular, not course we spend many hours of the friends we have there. only the music that he creates to add or remove little things, Of course, there are assholes in is great, but we have much until we totally like it and we Japan too... but for us, it was a respect for Anna Varney as a think it has reached perfection. beautiful experience. person as well. How did you become signed Tell me about something that How did Spectrum-X start? with Darkest Labyrinth? you feel didnt go right. S-X: Spectrum-X started S-X: We wrote to them to ask S-X: Well, there was a person in a basement, in our house about Japanese distribution for basement, as soon as Nullifer our first album, Tea Party With that played bass for us in Tokyo that really was not right... he came here to Italy from the Zombies, that we self proplayed really bad, but it was just USA. And it was all about duced. Kiwamu, the owner of little ghosts voices and shad- [Darkest Labyrinth] and leader a Japanese unknown bassist that ows, nightmares, creatures... of the Japanese band BLOOD, we were trying out for the Tokyo gig so... we said goodbye to maybe people at this point responded very kindly to us him! Luckily the crowd in Tokyo may just think we were under and obviously he liked our didn't pay attention to that basseffects of some drug, so let project. So we started to be ist at all! One really good thing me make it clear: We do not distributed in Japan, but we take any drugs. Spectrum-X also started talking to him via was that Kiwamu played guitars was born under the effect of email a lot, about ideas and we with us in Tokyo. See Spectrum-X on p. 49

Are there a lot of furitsuke to memorize when going to your show?

[Furitsuke is the practice of syncronized hand movements that fans memorize and perform together at a show.]

There is some furitsuke that should be remembered. Moreover, they think about original furitsuke, and there is a fan who announces it at the show, too. We enjoy it too. Both Lleu and Laciel are in the bands Merveille Magique and Celestia Le ciel. Why are there two separate bands? We had the image of some worlds first. I wanted to express them separately. Do Merveille Magique and Celestia Le ciel play at the same lives? Mostly, because our concert is one stage, it is necessary to perform MM and CL in the same stage. When we can have two stages, it performs separately. It depends on the request. Therefore, we are doing the combinations gig of MM and CL and we have the combined songs of MM and CLC. Does one band play live more often than the other? At present, it keeps evenness. What kind of experience does a fan get when seeing your show? Perhaps, everyone can experience the concert of a new type for the first time. There also might be a smile and happiness there.

Please let us know if you have a good idea. What are your favorite songs to play live? Laciel: Hikari to Yami no Mahou. (by Merveille Magique) Celestial ciel. (by Celestia Le ciel) Guardian Angel. (MM&CL) Lleu: Eien no aoi bara. (by Merveille Magique) What are the visual and musical concepts of Merveille Magique and Celestia Le ciel? Laciel: Merveille Magique’s concept is the world and magic of faeries. Celestial Le ciel’s concept is that we appear as the masters of the celestial world where the spirits of folklores and legends exist. Lleu: It is both worlds that exist in children’s minds. There is a beacon of hope there. Do you feel that either visuals or music hold more importance or do you value each part the same? We similarly evaluate it. Both are important. You formed the label Celestial Univers Music to release your music. Why did you do this? Laciel: Because it thought it to be the best method in making our music.

Lleu: I feel that it is necessary to do everything by our power. It is significant though it is very hard work. What kind of personality does Lleu have? Laciel: Very diligent. What kind of personality does Laciel have? Lleu: Fantasist, and shy. There is one cookie on the table. It’s an epic battle to the death. Who wins? We divide it into the half. We do not fight. Where are you both from? Celestial World or Japan. What is unique about the area you came from? Big shinto shrine. What are your influences? What bands or musicians do you like? Laciel: Influence: melodic metal, classical, Japanese classical, opera, nursery rhymes, etc. Likes: Rhapsody of fire, Wagner, Bach, etc. Lleu: A lot of novels on Japan and a lot of film music had a large influence on me. What are your plans for the future? Laciel: I want to express a fantastic, beautiful world and to make it known. I believe that there is a wonderful infinite possibility in that. Lleu: I hope people to be happy in the power of our music. Do you hope to play in other countries? Yes. We hope to play in various countries!

Note: Lleu and Laciel conducted this interview entirely in English without the aid of a translator. We opted to leave the majority of the material as is but made some minor alterations for readability with the band’s permission.

How has the tour been going so far? Ben: Lot of travel. Not much opportunity to sleep; you finish a gig at like one-thirty, two; you go to a hotel; you get up, get out to the airport by eight, so there’s not a lot of time. SUGIZO: This

time we have eight shows in eleven days. So hard… Ben: When you were doing Japanese Luna Sea dates, was it that much? SUGIZO:

I think this tour is most heaviest… for my life. [laughs]

Ben: We’re trying to tire him out. We want to see how much we can push him. I think it’s working. Ben: Yea. You should see him dance on stage. He’s like a … like a firefly. SUGIZO:

Firefly?

[laughs] Energy

is so good. What kind of energy is in your current album? Ben: Oh, I don’t know… The trouble is, when you make an album you sort of go through this whole process where you’re feeling depressed, or happy, or elated, or whatever you want to make of it, and then you forget about it. And then the next time you have to think about it is when someone asks you that question! [laugh] And then you go, “Oh, I don’t know…” But… My energy is so slow I can listen to a whole track for a month and then realize it’s a whole load of rubbish. Not easy. It was lovely having Sugizo in the album; he came over to England, for… how long? Ten days? Two weeks? SUGIZO:

weeks.

Maybe almost two

Ben: And that was really nice. That changed the course of the album.

Ben: Firefly. FWOOSH FWOOSH. Kung-fu master!

How did you get Sugizo to join Juno Reactor?

SUGIZO:

Ben: I can’t remember… He asked me to do a remix of one of his tracks…

Yea [laughs] Martial arts is very important for on the stage. Ben: He’s great! He’s really fast and… very good. You and Mandla. The dance with Mandla is very lovely. [Mandla Lande is an African drum performer with Juno Reactor.] SUGIZO:

Mandla! And Squid has so big energy! Usually on the stage, I get from them… their energy is very beautiful and so powerful. I can’t stop dancing on stage. Ben: If we want to stop, we have to kick him off. KAPOW! SUGIZO: We

will never stop.

SUGIZO:

Maybe…

Ben: That’s a long time, isn’t it? SUGIZO:

Maybe… more than ten years ago. Ben: Were you coming to the old parties? Did you come to those or… SUGIZO:

No, just albums I have but… maybe.. And, I SUGIZO: Yea. [nods] thought, Juno Reactor’s sound Ben: …and then I met Sugizo is not typical Psychedelic Trance. Just shape, Juno’s in Japan and we did an intersound has more big meaning view. and so many elements. When I started my solo project, it was SUGIZO: We did a Japanese also almost ten years ago… I magazine interview. really wanted to make something also with many elements Ben: Yea, we just got on… mixed. Its way is my favorite. Juno’s sound is kind of my SUGIZO: Of course, from over ten years ago, I was huge fan of teacher. Juno Reactor. Ben: I’m his master. So he’s my pupil. [laugh] Not true. Really? Ten years?

SUGIZO: Yes, [laugh]

apprentice.

Ben: No, I also needed a good guitarist. See, I’m an okay guitarist. But I’m not a good guitarist. SUGIZO:

No--!

Ben: I’m trying! I’m trying to get better. He’s teaching me, then he’s my master, you see. SUGIZO: [laugh]

Maybe, I think, I am a very strange person. Basically I was just a rock guitarist, but I know psychedelic flavor. I know trance and techno flavor, so maybe I am very rare. And of course jamming and improvisation is important in music, but so many rock guitarists can do that. Improvisation is very important in music, especially in Juno’s sound…

Ben: I notice he does great poses. He does super sexy poses, doesn’t he? Can you do some, too? Ben: I try but they don’t come out looking so good. [laugh] I have to practice more. Another thing he can possibly teach you? Ben: I think so. Yea, well we’ll try tonight. I’ll try a bit of posing tonight. What does Juno Reactor think of the Japanese rock fan base following them on this tour? Ben: Well when we first started it was a bit bizarre, like when we first played Ukraine. We had all these Russian girls screaming and everything, huh? Remember? SUGIZO: [nods and laughs]

Ben: And then I thought ‘Jesus, what’s this?’ And then I thought ‘Well, it doesn’t really matter.’ It’s a part of it now, it’s the Sugizo fans over there adoring Sugizo, and that’s nice. It brings in a whole new element and a different color to the audience and it’s really nice to have them there. I think it’s a really nice vibe, something we never thought would be part of people coming to see Juno, but it’s lovely. It’s really nice, it’s a whole different generation. It’s good fun. SUGIZO: Yea,

generation.

very young

Right, there were quite a lot of young people earlier today at the meet and greet. SUGIZO:

But it’s very sad. Today’s show is only 21+.

Ben: Right, my daughter would have very much liked [to come]. She loves Sugizo.

If there was one aspect from any culture that you think everyone should adopt, what would it be?

SUGIZO: And

Ben: I think the Japanese culture is great. They’re very considerate people and I think that’s a very lovely aspect.

[Ben’s son]. He’s one of my best friends. We are Star Wars junkies. Sugizo, do you feel that your fans will find Juno Reactor’s new work to be similar to that of your solo works? SUGIZO:

I don’t know, because my solo project’s shows are very few. But when I was very young, when I was in my early 20’s, we had a very big world in Japan. Each place, each audience was very different. I think in the world too, all places are very different, all the energy is very different, but it is very fun. And music’s, you know, genre’s borders are not very new for me. As in no meaning? SUGIZO:

No meaning. Just feeling. Just communication and just inspiration is very important on stage. What do you enjoy the most about touring other countries different from your own? Ben: I love traveling to a new country. Somewhere where you’ve never been before, and you know that smell that you first smell will always remain in your head, you know? I really love that. Like in Egypt or somewhere like that, I can smell the mountains… It’s sort of weird. People are very different all over the world, yet we’re all sort of the same, we’re all seeking the same sort of things out of life. And… going to Ukraine, going to Russia, Greece... Spain. It’s just a wonderful adventure. Japan’s so different, huh?

SUGIZO:

I think Juno’s situation is the best model for the next world. So many races, regions, so many countries join for Juno Reactor. Of course Ben is England, Squid came from Jamaica… and we have four South African performers. It is very strange, but beautiful. Is there any particular message Juno Reactor puts forth to the world? Ben: I think it’s never set out to be anything apart from a musical project. But I think when other people view what is incorporated into the bands, they see it like, maybe we meant it to be like this. There’s guys from South Africa, from England, from Japan, from all over the world, but it was never meant to be like that, it just happened. Then it’s like a byproduct, the fact that everyone sees Juno Reactor working together and coming together as one. And that, for some people, is a really emotional thing so it wasn’t ever meant to be, but I think it just is. It just is. Especially in South Africa, the whole audience was crying. After a part I had just ended there were all these guys and women with tears falling down their eyes, and the fact that it was white people and black people playing together... It’s a powerful thing.

SUGIZO:

So I don’t know what the one most important thing about Juno Reactor is, but I think there is a very strong sense of warmth and and positive spirit, openness and love.

Ben: Turkey?

Do you want to explore something like that for your next album?

SUGIZO:

Ben: I don’t know. I think I

Japan’s different? Hm. I really want to go to Turkey with you.

I couldn’t…

might… Sack ‘em all. Get a new band. Sack em all?! Ben: [low voice] Let’s get a girl band! [laughs] I’m happy the way it is. I would like it to stay the same, but nothing stays the same in life. Change will happen, whether I like it or not, and that’s okay. Interview: Rubab Rizvi Images: Jess Johnson Sugizo on P.32 courtesy of Einsof Marketing.

Will you return to your solo projects and S.K.I.N. in the future, Sugizo? SUGIZO:

I think so. Of course solo projects… And S.K.I.N. too… Maybe we can join again next year. Ben: …What’s that S.K.I.N.? SUGIZO:

S.K.I.N. is… kind of special project. Each member is very famous and each member is soooo…. busy.

Ben: What about Luna Sea? SUGIZO:

Luna Sea is…

Ben: You’re doing Luna Sea right? SUGIZO:

I think continue… next year… Ben: X Japan? SUGIZO: [nods]

X Japan is also…

Ben: Led Zeppelin? SUGIZO: [laughs]

I wanna see… Just... oh! I’m big Led Zeppelin fan too. What’s in Juno Reactor’s future? Where would you like the project to go from here?

Ben: Right... so there’s S for Sugizo…[Everyone but Ben laughs]

Ben: I want Juno Reactor to be the most successful live band in the world. That is what my aim is now.

SUGIZO:

S.K.I.N.

No, name is just

Ben: Oh, not every letter… SUGIZO:

project.

No, no… But it’s fun

Juno Reactor is a very strong live band. Ben: I really think we can be a really successful live band. What we do, it’s entertaining,

it’s show biz. I would like it to be very successful. No one owns records anymore. It’s like, you can download it for free, buy the underpants and go watch it live. [laughs] SUGIZO:

Imagery changed, but just live has never changed. I think from 2000 years ago.. Ben: I think also production has changed nowadays. If you have money you can put on like a film, live. You can do some amazing stuff. Just give us some money and we can put it on. Have you seen like those things like Journey to the West? That really theatrical sort of thing you can go so far with in performance but lots of fans just end up putting four guys on stage with some lights and a little video… It can be like theatre, it can be really massive what you put on stage.

25th of September, 2008 - Los Angeles by Holly Interlandi

The marquee below the El Rey Theater sign said only JUNO REACTOR, but as far as half of this audience was concerned, it just as well could have said SUGIZO PLAYING GUITAR FOR JUNO REACTOR. The scope of audience division, at least before the show started, was rather remarkable – there were just as many Jrock (read: SUGIZO) fans with no knowledge of trance music as there were hardcore clubheads. Thankfully, there would soon be a concert of the magnitude that could unite countries, that would say nothing of divided audiences. I was fortunate enough to have a unique perspective on the evening. I had come to see Juno Reactor from both sides – Juno fan and SUGIZO fan. I’ve been a fan of Juno Reactor since first hearing “Guardian Angel” on the TEXHNOLYZE soundtrack, and a fan of SUGIZO since my love of Luna Sea began years ago. Thus, I was able to appreciate both clueless Juno fans standing in awe at the guitar skills of ‘that Japanese dude’ and grins of fellow Japanese rock

geeks as they discovered the allencompassing beats of Ben Watkins and company. The opening band, Future Rock, was a mere warm-up. They produced infectious electronics, but the members didn’t go beyond the traditional stage setup of DJ-andcomputer keyboard. There was nothing to watch beyond blinking lights – a stark contrast to what was to come. Unlike any other electronic act, Juno Reactor manages to transform a concert stage, bringing a female vocalist, an MC, African trumpets, two extra guitarists, and a drummer in addition to the consummate keyboard. A friend truly hit the mark by calling it performance art. The tribal dancing was more profound than anything witnessed merely by the ears.The most entertaining thing about this show for me was to see SUGIZO’s style blend in so perfectly with already-existing Juno Reactor songs. Who could forget the flawless flamenco guitar skills at the close of Luna Sea’s “be

gone”? They were given a perfect opportunity to stand out during the Spanish-flavored opening of Juno’s “Conquistador”. And SUGIZO’s mastery of the violin? He broke it out during a lull between beats, much to the ecstasy of longtime fans and to the awe of uninitiated onlookers alike. We were treated to staples such as “Insects” and “War Dogs”, as well as my personal favorite from Gods and Monsters, “City of the Sinful”. Such music swallows your body and makes you move – it’s almost impossible to articulate the experience in separate moments. To close the main set, after merely teasing with it at previous US shows, Juno served up Los Angeles with a full slice of “Pistolero” – arguably their most famous track. It had the whole crowd, regardless of what they had come for, crooning along to the melodic riff. Individual songs weren’t really the point, here. Every track bled into the next with effortless flow, just as every performer managed to blend

into the musical collective. Ben Watkins himself stood in the back, letting his musical companions shine on their different instruments. An onlooker never could have guessed that Watkins had forged the majority of Juno Reactor’s studio albums on a keyboard. Even SUGIZO, the rockstar of rockstars, managed to take a step back and let guitarist Steve Stevens maintain most of the spotlight. Here, he quieted down and blended in for almost the whole show. After the encore, he couldn’t resist remaining behind – the last one on stage at the end, as always. There were no complaints, of course – I’m sure he made plenty of new fans. And rightly so. The Reactor philosophy of bringing all cultures together is a natural extension of SUGIZO’s own determination to bring peace through music. Although he has only been performing with the band since the start of this year, at the El Rey, it felt like he had always belonged.

“People think I look stupid wearing what I wear. I really hated school. I was picked on as a kid.”

Interview with Laura Brickman

So this is not your first show outside of Japan. You mentioned before that coming here was kind of a scary thing for you. Do you feel like you’ve adjusted now? I’m very relaxed now. In February before I arrived in New York, I was a bit nervous because I had heard a lot of news about the Los Angeles criminal scene. After I arrived, everyone was so nice and friendly so I relaxed and felt more comfortable. I love America! When you first came here did the amount of fans you have waiting surprise you? There’s a difference between the Japanese scene and the European and American scenes. When I came here and when I went to Europe, the fans were all screaming. In Japan they are much more relaxed and more like just my buddies. I was pretty surprised.

Have you picked up any habits outside of

Japan that you find yourself doing while at home? The Japanese fans are more passive and they wait before they finally express themselves, but here the fans really know how to express themselves and they enjoy the experience more. So as an artist I’ve learned how to be more... Expressive? When you go to a concert, until the half point, the audience will just sit there. Nobody wants to be the first person to stand. When multiple bands play together, the Japanese fans can be kind of cold to the bands they didn’t come for. They will just kind of sit there vacantly and Americans are actually a lot more open to appreciate new music and other bands. Before you were a DJ when did you first start going to club events? I live in Tokyo right now, but I originally came

from Nagano. There are not many clubs in Nagano. So after I graduated high school I went to Tokyo. At the time there were fewer goth clubs. I found this goth club in Rappongi and it was only open once a month. The scene was all underground then. They were hard to go to. There were no gothic lolitas; it was very hardcore goth. They were actual vampires of Japan. You would think, “Oh! All of the vampires in Japan are coming together here to form a cult...” They were very cool. What was it that attracted you to that whole scene? I really liked the clubs, but I also really liked the strangeness. Now more clubs have started to appear. When did you start dressing up the way that you do now? When I was little, I was really entranced by

the princess genre and as I grew up and went through middle school, I got interested in the gothic style. It gradually evolved.

sometimes it’s best just to do things on the spot. I have a pattern just in case. I try to match the mood as much as I can.

What songs do you find yourself listening to the most lately? I really like the elektro and industrial sound. I can’t think of a particular song, but lately I like this Japanese electropop group called Perfume. Also, I like classical Chanson.

I’m under the impression that the gothic, industrial, and visual kei scenes are very segregated in Japan? You’ve talked before that you wanted things to be more mixed. Do you feel this has been changing? Everything is segregated. It is changing but it is really hard to mix all of them together, but I am doing it where I can. However, they also have their good points because they can’t be mixed in certain places. Slowly they can mesh together this way. [Sisen says “Slowly” again

I like fusion music where something comes from overseas or older music to make something new. There’s a style of Enka that I like that blends oldness and newness together. When you perform do you plan your sets in advance or do you just make it up as you go along? I already have a list of things to spin but by looking at the audience and feeling the mood

in English and meshes his fingers together, before repeating “Slowly” again.]

If you could change anything about the club scene back home - what would that be? Um, Tokyo or Nagano? Nagano?

Japan in general. When it comes to industrial in the US, there is more variety in the music, so that is something I want to work on in the scene in Japan. There are a lot of industrial bands that would love to come to Japan but the scene is just not big enough to support them. I would love to expand the scene so that my favorite bands can come to perform. Outside of working as a DJ what sort of plans do you have in the future? A happy marriage - to a man. ...? It’s true! ...I can print that? I won’t get in trouble for that? Translator: Please do say that! [SiSeN in English] Its OK! No problem!

OK! Aside from that, I want to bring my fashion forward in the scene because fashion is linked to music. The gothic lolita fashion in Japan is just clothes and not linked to industrial music. A lot of the people who wear those clothes have never even been to clubs. I want to change that. What do you think is the one major misconception that people have about you? People think I look stupid wearing what I wear. I really hated school. I was picked on as a kid. Even so, I really do have a kind and honest heart, even if I look silly. I saw you outside last night before the show talking to the fans. So this is something I think is very obvious about you! You spent a lot of time with them, not many people would do that. The translator agrees with, “Yeah! I know...after the show too! He was hanging out!” She explains this to him and he thinks for a moment.

I don’t want to be famous... I just want to expand the club industry in Japan and bring different cultural styles. What is the one thing you hope people take home with them when they come and see you perform? Here in America, I want people to be able to see the real Japan. People only get a perception from Anime, and I want them to be able to get a different perception that is more realistic. Do you see fashion and music as being completely separate - or mixed? Sisen folds his fingers together like he did earlier and smiles at me before responding with the English word, “Linked.”

You are able to enjoy both more when they are together.

Salia: The melodies are very easy to listen to and catchy like pop, but overall I have to agree that it sounds more like rock than pop. Before your first performance at Akiba Fest, did you have any international ambitions? shin-go: Before performing at Akiba Fest, foreigners showed their interests to our music, so I believed that there should be someone out there who liked our music not only in Japan but outside Japan!! Of course! [laughs] it was great to finally meet them! Salia: I had hoped that we can perform for people outside Japan since I heard anime was gaining popularity all over the world and we were creating anime songs.

Unicorn Table’s style is a strong mix of pop vocals with rock instrumentation, how would you say this expresses Unicorn Table and each member’s personalities? shin-go: I am a big fan of Lenny Kravitz and I believe I bring that to UT. So I believe Unicorn Table’s sound was born when I arranged and produced rock instruments with added elements around pop vocal concepts and melodies that Salia had thought up. We had something in common musically and found we can feed off of each other. Salia: I pay attention to gracefulness and originality when creating music and lyrics but I like to see people have fun so I like to put the lyrics I write and melodies I create on top of a pop sound. shin-go: When we are together it is easy to create because we know how each other may want the outcome of the song to be. It helps that we really enjoy our sound so we practice and make music together often. You mentioned Lenny Kravitz, who do you consider to have influenced your development, and what other artists inspire you? shin-go: Yes Lenny Kravitz has been a big influence but I also feed off of many people I have met both on and off stage. Salia: My parents and fans are a big influence! As far as other entertainers I like the Cardigans, Bjork, Alanis Morissette. Fionna Apple, and Whitney Houston… Oh and my rabbit, Rapita! A few of your songs have been

used as themes for anime, how can you attribute this to your increase in popularity, and how has your popularity grown in other ways not tied to anime? Salia: Before creating music for anime, we had regular fans who liked us as J-pop artists, but since we started working on anime, we have gotten a lot of anime fans that also support us and I am very happy about that. If we did not work on anime songs, we may have just been known as J-Pop artists, but many J-Pop artists do anime songs these days, so sooner or later I am sure that we would have gotten involved in anime anyway. shin-go: In Japan, anime was mostly watched by otaku but now it is watched by nearly everyone. Our work on anime theme songs has definitely helped us gain popularity around the world. I think people are still learning about us and our work behind the scenes so it is hard to say how we are popular outside of anime for those who met us through our work on anime - But our album “uncountable” has a few songs not associated with anime and our song “TV Babies” is very popular in the U.S. And our new music has a lot of work not related to anime. I also one day hope to make music for the end of a movie. The ending theme can be very powerful as it sums up the movie. How does your musical style stand out as being unique from artists who are more often connected only by their feature in anime? shin-go: Some have said our music is very layered for a having rock sound and tends to sound more like regular j-pop music rather than a theme for

an anime song. When you work on an anime you get to write songs to tell stories or bring a character to life even before the show starts or give an idea of another side of the character in the ending theme. So we think what if this person was real- then we develop deep lyrics, and thoughtful arrangements and put it to a pop sound so everyone will want to listen to it. On Fly Away the sound is very high energy but it is talking about the character’s dreams. We also try to create music which is original and that listeners have never heard before. Salia: Well…sending messages is our style. So it is easy for us to tell stories over the music like you have to with anime themes. But since we like our layered pop sound we still make anime themes in a way everyone can listen to them. Since anime songs need to be created around the story, some people feel that they are forced to sing a certain type of song. We try to reflect our ideas and passions on the music based on the story and develop a song that can relate to many people even if they never saw the anime. I guess that is how you get the UT sound based around anime. The rock instrumentation in your songs sometimes seems considerably harder than typical pop-rock, which style would you classify yourselves as being more representative of, Rock or Pop? Shin-go: Since I like the sound of rock bands, I personally think Unicorn Table music is more rock than pop. But since it is layered with other sounds I think many people find it easy to listen to who don’t usually listen to rock that much.

Your show usually presents Salia’s solo songs, shin-go’s instrumentals and other surprises. Is every show you do catered to the crowd you’re performing to, and who comes up with the concepts for the shows? shin-go: Salia and I make a plan for the show. We decide the contents of the show depending on how we feel. But we try to present as fun a show as possible. I’d hate to be in the audience and watching a boring show. So we think about what we can do new for each show we put on. Salia: Shin-go and I make a plan. Each stage and show is different so our performance needs to fit to the situation. We had a lot of fun at NYAF because it was Christmas and we gave out presents. We are hearing that a new album is on the horizon, are these more independent songs or will they have something to do with anime? shin-go: Our new song “Yawarakana Mirai” is being played on a TV commercial for Achilles Shoes in Japan. We have no plan to release it as a single CD, but we play it at live shows. Salia: We are creating new songs that are not related to anime. These days, we are working on music which we wanted to create to reflect our original style. What are your goals for the near future, and what are your goals for the more distant future? shin-go: More performances in America with all the members of the band in the near future. For the long run, to keep creating music. Salia: I want to introduce more of our music to a lot of people and want them to keep feeling Unicorn Table through anime and commercial songs. And I would like to play music which touches people’s hearts, across race, gender, regions and so on. NYAF pictures by Norma Burton

Unicorn Table appears courtesy of TenBu Productions

Psychic Lover appears courtesy of Columbia Records JPN and TenBu Productions. Live images by Norma Burton

Before becoming Psychic Lover you were in a group that originally consisted of six members, how has becoming only two members affected your style? Yoffy: Before PL I was making music as a song writer, but ultimately my sound and goal have not changed much. The reason why we had six members was that we needed to emphasize stage “performance.” You know, before you make a major debut, a live performance is critical for bands!! Now we are a twomember unit and can try various music arrangements without any constraints of only having a big band sound. We don’t always need a lively drum loop, synthesize base, grand orchestration, brass section to name a few. We can create those types of sounds when we need to because of the influence of the great arranger/ producer Kenichiro Oishi, that I call the third member of Psychic lover. Imajo: When we were a six-member band, there were some limitations on expressions since each member had strengths and weaknesses. Becoming a two member unit, I think we have more freedom when playing music. But when we have a live concert, we had to ask support members to play with us and need to do our sound checks from scratch, so I sometimes feel having regular bandmates is good. But if we do not have regular bandmates, we have to play with different support members and the experience gets me excited. Who and what are your biggest influences regarding your style? Yoffy: BON JOVI, DEF LEPPARD, POLICE Imajo: My father played the guitar, so his influence is big. Also, he took me to a concert of THE ALFEE when I was ten, and that is why I started to play the guitar. Oh, yeah, and you know, Mr. Toru Soul who

plays the drums for us at live events, used to play the drum for THE ALFEE for a long time. I also had influence from hard rock and heavy metal sounds, such as LOUDNESS and METALLICA. Why do you think Psychic Lover is so irresistible? Yoffy: A catchy and concise music composition. It sounds simple, but is a complex arrangement of music. Also, I think we do not hesitate to include commercial aspects in our music. And, our lyrics are always positive and encouraging. Imajo: I think Yoffy’s vocal and my guitar playing is more or less universal. We are creating music which is easy to sing and is based on our favorite influences. I think together these are our strengths. Several of your songs have been featured as anime themes, were they made specifically for the animes? Yoffy: When I am asked to create a theme song, I rigorously do research on the story. My policy of making a theme song, including music arrangement, is to create a music vision based on the world view of the story. Otherwise, fans cannot enjoy the music. I am always cautious about not creating music based on my own styles/judgment. It is like a movie director creates a movie; serious human drama, S.F., love comedy, documentary...I reflect my experience and voices on the themes. The most difficult thing is to keep a good balance between my feelings and the theme or world views of the story. But I enjoy my work as a creator. Each time is challenging. I created my own music, which is not anime songs, but I have not had a chance to play the music...It is too bad...But creating music everyday, much like writing a journal, is important to be motivated as an artist. See PL on p. 49

October 10-12, 2008

Event coverage by Laura Brickman The 2008 Anime USA convention took place in Arlington, Virginia, on October 10th through October 12th. The event was packed with three days full of entertainment and play, as well as many obstacles. Friday night’s pandemonium surrounding the Versailles panel, just before the start of the event, ushered in a glimpse of the weekend to come. The band had been slated for a small conference room that could only handle 68 of the several hundred guests who showed up. Most, including many members of the press, were turned away. They had to hear about the

Alex Sanafeeva Cari MacPherson Brandy Morrison Michael Morrison

bands antics second hand from the small portion of people who were able to get in. Everyone who purchased Versailles merchandise, however, was able to get an autograph after the panel. The line wrapped clearly around the entire lower floor. Saturday was a beautiful day, and Askew spent a few hours taking in everything at the con. We met a stunning Jack Sparrow, who even ordered rum from the bar in character, and were interrupted by countless anime programs. The elevators became so crowded that it would often take an upwards of 20 minutes to get a ride up or

down a few floors. Most opted to take the stairs. The members of Versailles were likely having one of their worst days yet. Equipment problems prevented them from completing the sound check on time. These, among other problems, were causes of the concert starting nearly four hours behind schedule. The large number of people in a small designated waiting space created a rising heat problem that made the delay seem much more prolonged. Hotel staff brought down several oscillating fans and passed little cups of water around in an attempt to keep everyone hydrated. No

one was seen abandoning the line, although there were group singing sessions of “The song that never ends”. Emotions were running high, but DJ SiSeN came down to try and cheer everyone up. This was a stunning gesture considering that his set was delayed and groups of ravers were already waiting outside the hotel. Once attendees were allowed inside of the concert room, he dragged everyone he could onto the stage to put on a show in order to keep the crowd occupied while Versailles was in make-up. Bless his soul. See AUSA on p. 49

Gen Orino: “ Konnichiwa!”

Tomo: “Elegant Gothic”

Cathy: “Ku fu fu”

Angie: “Bellydancer”

Becka + Robbie

Lauren + Mjok: “Be in Neon Blast!!!”

Spectrum-X Cont. Now how about something that went better than expected? S-X: The shows, both in Osaka and Tokyo! We expected them to be cool but it was even cooler than we thought! If given the opportunity, would you do anything different? S-X: No, just we would not ask that person to play the bass in Tokyo... ewww. Do you think you will permanently move to Japan at some point in the future? S-X: We don’t know yet... But, here or there, we will continue to write the creepy little stories that scare you at night!!

AUSA Cont. The show having started, and with other business to attend to, I ducked outside for some fresh air and spoke to a few of the people showing up for SiSeN’s rave. They seemed a bit confused, and to my surprise many of them were only going to the convention that weekend to investigate the foreign DJ. One of them said he was not sure if he liked SiSeN’s style because it was different than what he was used to, yet here he was on night two waiting for a late set. In addition to the chaos, there were many concerned parents waiting outside the convention in parked cars wondering why their kids had not emerged from the concert yet. Versailles sat down for yet another autograph session after the show, while SiSeN took the stage for the second and last time that weekend. The band seemed tired and clearly happy to be getting close to the end of a long day. The members were vibrant and personable with each person who went through the line. SiSeN pounded away at his set into the wee hours of the morning, throwing candy into the crowd and dancing up to the lip of the stage. The dancers he selected for the weekend danced on risers and were fantastically dressed as well as interesting to watch. The convention staff, Versailles, and Tainted Reality worked very hard to overcome everything that occurred that weekend. Sometimes it was finding space outside the doors of the Versailles panel so that a few more people could be squeezed into an event, and sometimes it was coming up with extra treats for fans who waited a long time for the show. I think everyone left tired but happy.

PL Cont. Imajo: I am trying to create regular music as well as themes of animation. But we cannot hide our style when we do recording, so in that sense we do not change our style even if we work on anime songs. I am happy to hear our songs played in anime on TV. What makes your music stand out as being more independent from anime, developing a stronger character of being musical artists? Yoffy: Rock Spirits Imajo: A catchy music composition and a powerful stage performance. You have a radio and TV show in Japan, can you tell us something about them? Yoffy: Radio: “ Psychic Lover’s Fw: Anican RADIO” is a variety show which introduces anime information. TV: “Anipara Ongakukan” is a live show which artists play anime songs live. Imajo: The radio show is aired in Osaka. The TV program is aired on CS Kids station and all performances are live. Regular members of the show are Hironobu Kageyama and Masaaki Endo, and this program is eight years old. We invite guests to each episode and play live. We hardly do sound checks for the show [laughs].

What impressed you the most about America when you were last here for Akiba Fest. Yoffy: It was high energy, powerful, and crazy [laughs]. Imajo: Everyone enjoyed our music in their own ways. I was impressed with one audience member with a guitar. I think she felt the same way I did when I was playing the guitar and enjoyed the live. I was very happy. Are there any new projects in the works relating to new songs or a second album? Yoffy: We may release a second album!! And we just did a theme song for “Samurai Sentai Shinkenjya.” This is a new Sentai coming out in 2009. It is a great and high tension tune. You will experience a brand new Psychic Lover sound. Imajo: Yes right before this interview we got the news that our new song is chosen for “Samurai Sentai Shinkenjya.” We are hoping to release a second album, but this is not a definite plan yet. But stay tunedit just might happen soon! What are your aspirations? Yoffy: Leaving my music in people’s minds. Imajo: A world tour!

New Album Spotlight Dir en grey - Uroboros

Official Website: http://www.direngrey.co.jp/ Where to Buy: The Omega Order (http://www.theomegaorder.com/) Price: $10.99 Tracks: 14

Talk about development. While Marrow of a Bone hit like a meat hammer, Uroboros - if you’ll pardon the food metaphor - stretches like strands over your teeth. It takes much longer to digest, and this is ultimately a good thing, as new melodies and instrumental sounds sneak out at you with every new listen. The dichotomy the band has achieved, of such stark beauty laced with grinding violence, is reminiscent of their earlier record Kisou, but even more extreme. -Holly Interlandi DIR EN GREY’s 2008 album displays an enviable progression from their “MARROW OF A BONE” undecidedness. Starting from the oriental “SA BIR”, moving along the sturdy reins of “VINUSHKA”, without ever forgetting the importance of superbly written classics like “TOGURO” or the playful funkiness of live hymns like “STUCK MAN” or the expressive “DOUKOKU TO SARINU”, finally closing with the extraordinarily emotional “INCONVENIENT IDEAL” - “UROBOROS” takes some time to feel it, but it may well be the band’s most mature work so far. -Cliff Modes

Honestly, I’ve been waiting for Dir en grey’s newest album ever since the release of Marrow of a Bone. Sure, many other people were too, and we did get a taste of UROBOROS through the Dozing Green and Glass Skin singles.

grungy metal sound that Marrow of the Bone introduced. There is not much filler material on this album. Even the inclusion of the already heavily rotated Dozing Green and Glass Skin tracks are welcoming sounds.

However, I really can’t express how unexpectedly amazing this album is. With the drastically different styles of the singles I asked myself what might be expected of the album, and one can really see how each single fits in, but at the same time they do not even come close to giving a good indication of what could have been expected. Every song has such a unique blend of style, incorporating elements from Kisou, Vulgar, Withering to Death, and Marrow of a Bone all together, leaving a good chance that there is something for almost every era of Dir en grey fandom. The entire album has such a powerful atmosphere to it, laden in darkness and light alike.

With all that said, there is no pop accessibility. Uroboros is best described as an art piece. It is something you sit down to listen to but do not split up and take in parts. Very few of these songs can easily be perceived as singles with an exception of the songs already released. The songs work together as a whole. More radio friendly songs might be the answer to more immediate mainstream American support, but that has never been Dir en grey’s method. They do their own thing and probably enjoy a heavy cult-like following because of it. The music changes and matures regardless of whether or not anyone besides the band is really ever going to be ready for it.

-Evan Benner

If anything truly detracts from Uroboros it is the overabundance of heavy hitting material. Where’s the fun? Most people who heard about a return to an earlier sound were probably hoping for the energetic accessibility that radiated from much of their earlier work. The darker tracks of Macabre were split with less heavy hitting material and Uroboros seems to lack this. It’s one big relentless hammer.

Uroboros could be described as a neat little package, but only if that package is a mail bomb capable of blowing up in your face. It’s intense and mythical, and we like that. I was not quite certain what Kaoru meant before the release when he described the new album as a mix of both the old and new elements of Dir en grey’s work. It’s hard to listen to Vinushka and not be reminded of the earlier offerings from the Macabre album. Uroboros is threaded with wonderful bits and pieces of musical flavor. These styles include Kyo’s mixture of singing and growling and the dirtier

- Laura Brickman

Here are our 2008 awards! This year, we left the process entirely up to you and selected the nominations from what was sent in to us via our website. After we culled the nominees down to three from each category, we allowed you to vote on them in order to select the finalists. Here are the results!

Most Accomplished in 2008 Versailles –Philharmonic Quintet–

Many bands gave it their all, and many deserve to be commended for their contributions. In our poll, however, one band in particular stands out as having deserved “Most Accomplished Artist” of 2008. Askew agrees that Versailles –Philharmonic Quintet– do in fact deserve this designation. This past year brought the releases of their first full album, NOBLE, a free digital promotion track, “PRINCE”, and the new multi-version single, PRINCE & PRINCESS. 2008 also marks the selling out of both their debut mini-album, Lyrical Sympathy, as well as NOBLE, with the rerelease not only limited to Japan, but also in Europe and the US. Their overseas outreach did not end with distribution, as they also participated in and held several live events in Europe and the US. 2008 was not purely success for Versailles, as their new international exposure brought the attention of a pre-existing artist that shared their original name. The artists we know collectively as Versailles carried through this challenge without dirtying their aristocratic attires. With the input of their fans, they extended their name to the now unique Versailles – Philharmonic Quintet–. Askew looks forward to 2009 as a continuation of their untiring streak of impressive effort.

Most Promising (New Artist) 9GOATS BLACK OUT

Song Of The Year

Dir en grey - Glass Skin

Greatest Music Video MUCC - Ageha

Best DVD

Luna Sea - God Bless You -One Night Dejavu-

Best Album

Girugamesh - Girugamesh

Best Single

MUCC - Ageha

Best Jrock Blog

JrockNYC http://jrocknyc.blogspot.com/

Visit Askewmagazine.com and subscribe to our podcast feed for news, releases, and selected tracks straight to your MP3 Player.

Askew Magazine’s “Legendary Artist” award is given yearly along with its regular awards. An artist can only earn this award once, and in order to be considered must have spent considerable time in the music industry and have contributed in undeniable and remarkable ways. For our first set of awards we couldn’t think of anyone more deserving to place in this category besides hide. His legend lives on even to this day converting new fans and maintaining a steady following even years after his death. 2008 marked the 10th anniversary since his passing and music lovers all over the world gathered together to honor the legacy of this endeared musician. He was as kind as he was outrageous. His music and image criss-crossed with playfull banter and stark sexual overtones. Off stage he went above and beyond for those who supported him. He even became involved when a very ill fan of his needed a bone marrow transplant. It’s difficult to describe the amount of musicians that are out there today carrying his torch. When one asks the current generation of guitarists about idols or influences its almost unlikely that hide’s name wouldn’t be mentioned.

From the Ground Up Indie Artist Feature by Evan Benner

Artist: LAVERITE Official Site: http://sound.jp/laverite/ LAVERITE began their activity in February of 2008 and have been performing a few times a month, primarily at Urawa Narciss, credited with being the first live venue of several bands, one of which is Sugar. Originally formed by leader RYOTA (formerly of LAISON DETRE, and support guitarist of ReivieЯ), and newcomers Yue, and bassist Jimi, vocalist Yue has just recently left the band with ambitions that differ from music. LAVERITE saw Yue off at what they considered to be their graduation live at the end of November. Artist: DELUHI Official site: www.deluhi.com DELUHI have exploded onto the scene, having released one mini-album and four singles all in a matter of only nine months. Formerly known as Grave Seed, after some member changes they changed their name to DELUHI. Guitarist LEDA is actually one and the same as Galneryus bassist YU-TO. LEDA is the main composer and lyricist for DELUHI. He is joined by vocalist Juri, bassist Aggy, and drummer SUJK as the complete line up for the band. As one can imagine, with LEDA utilizing guitar in favor of his more widely known position as bassist, listeners are in for a diversely influenced treat. DELUHI’s sound ranges from standard metal with unique flares to melodic speed and power metal. Juri’s vocals are wide ranged, versatile and spot on, a true treat for your ears. The galloping bass and drums give their songs a solid foundation, while the guitar brings just as much variety in sound as the vocals. Though their songs feature synth effects, they are masterfully blended so that they don’t overpower the real compositions. With a visual and musical style made to stun, these musicians entered with full force, plowing through the ranks and developing an increasing buzz. I would recommend this band for fans of –OZ–, meth., Scar., Dio –distraught overlord–, Versailles, and older D’espairsRay.

Their reserve of live songs outnumbers the songs released on their live-distributed CDs, with the addition of one distributed free through a local indies shop and also the inclusion of Sephirot on the Closet Child compilation CD. LAVERITE’s style ranges from influences of symphonic metal to almost pop ballad, and they strongly utilize synthesizer which lends them a sound that really ties in with what makes the music of Visual Kei sound truly “Visual Kei”. Something about their style seems quite nostalgic, something that seems more like a tip-ofthe-hat to the Visual bands of the early 90s. One thing is for sure though, that LAVERITE aren’t ready to give up. The search for a new vocalist and drummer has been in the works and rumor has it some progress may have been made. This is a band that could be well on its way to breaking out and washing away the competition.

Artist: C4 Official site: http://www.keasler.co.jp/ Without even knowing anything about C4 one can tell by just one listen that they are veteran rockers. Not to say that they are old-fashioned, rather they just exude a sensation of being well experienced. Their style is very solid rock, featuring waves of crunchy guitar melodies and slamming guitars. Their blend of nostalgic elements of older solid rock with contemporary elements is a definite strong point.

Artist: me-al art Official Site: http://me-al.jp

Formed only in 2007, C4 have released an explosive debut album, Cyclotron, and mini-album, Pylebanker. Their explosive instrumentation and strong vocals really stand out in the music scene. Their powerful exhibition through recording is very solid, and they are already well accomplished. They remind me of the Underneath, but with a more explosive and powerful conveyance of their music.

me-al art began formation in 1999 with the original members Hirokatsu Ebisawa on guitar, Masanori Watanabe on bass, and Naoki Honda on drums, but the current lineup was not completed until 2003 with the addition of their female vocalist, Satako Kawasaki. All of the members hail from Ibaraki prefecture, northeast of Tokyo, which is also suitably where the band came together. They released their first maxi-single in 2004, entitled Elegy, which reached the Top 20 on the Oricon indie charts. They continued by releasing their Yume ni Saku Hana single in 2006, followed by the full album Hemerokarisu in 2007. Most recently they have released another full album, Exist, in October of 2008. Their style is very clean, polished, and lush with texture. Typically, me-al art combine a powerhouse vocal melody with both guitar and bass melodies while also blending different paces within each element. The vocal pace is usually drawn out, while the instrument pacing is mixed as quick and slow. One thing is for sure, me-al art are truly a masterful force to compete with.

in 2006 with a few of his fellow college students in Kyoto. KENT, in addition to his position as vocalist, also plays guitar and synth, and fellow member KAZUYA shares his position as guitarist. Bassist SHO (of Plasticzooms) and drummer COZY both currently fill in as support musicians. Their style is very reliant on their guitars, but the drumming and bass grooves are nowhere near overlooked. Kent’s deep and melodic vocals are complimented well by the varying guitar elements from both spastically rhythmic to melodic flares. The bass flies along and the drums crash and roll. Their sound is a refreshing tip of the hat to some older and nostalgic styles, but Lillies and Remains’ transformation of these to a more contemporary style makes it something fresh and new. Artist: Lillies and Remains Official Site: http://www.lilliesandremains.net Lillies and Remains have set the bar high, even after having just entered the scene in summer of 2007 and after releasing a strong debut mini-album. The brainchild of KENT, Lillies and Remains formed

Self described as new wave and Post-Punk, their influences include Neils Children, Bauhaus, David Bowie, and The Cure, and their name originated from a Bauhaus song of the same title. I would also recommend them to fans of American bands like The Strokes, The Hives, and Interpol, and of Japanese artists like Blankey Jet City, The Telephones, ROSSO, and Psysalia Psysalis Psyche. Here’s a band to keep an eye on.

DIY Mohawk Faux Fur Jacket Shrinkle (£165.00) http://www.etsy.com/shop.php?user_id=5399789

The queen of thrift couture is ready to invade your wardrobe with her slew of unique creations. Her pieces are highly sought after and make a lovely addition to any wardrobe. Their mix of play and DIY sensability is combined with a quality craftmanship that is hard to find in the general market.

Lace Edged Corset Black Jacket Bullet Proof Cupid (£39.00) http://www.bulletproofcupid.co.uk/

This elegant jacket will keep you warm and blend in with all of your visual inspired outfits. It’s available in a wide array of sizes. Bullet Proof Cupid promises they will have many more options available soon.

Custom Straight Jacket or Hoodie

Angry Girl Gear ($125 and up) http://www.angrylittledeadgirl.com/ Have an old shirt that no longer fits, but you still can’t bear to part with it? Let AngryGirl transform your old shirt into a one-of-a-kind hoodie! Her work is all top quality, and she provides you with a variety of options, such as straps or ears that will make your hoodie stand out even more. Check out her gallery for plenty of fashion eyecandy!

The Colossal Volum’ Express by Maybelline New York

I wear glasses, so it’s hard for me to find a mascara which brightens up my eyes without adding a ton of gunk to the back of my lenses. In the past, I’ve also had difficulty finding mascara that lasts longer than two or three hours without having to reapply. I work under a lot of halogen stage lights, which means my makeup doesn’t last very long. Thankfully, Maybelline’s Colossal Mascara fixes that problem. I’ve been able to wear the mascara for roughly 8-10 hours with little to no touch up, and it’s pretty water proof. This is great if you work under halogen lights or lots of bright lighting, and you worry about sweating off your makeup. I’ve found that applying the mascara to the front and back of your top lashes extends wear of the mascara. Applying on both sides also makes the lashes fuller and longer. The best part about this mascara is it’s under $10.00 USD, which is a steal for your wallet.

Checks and Balances Frothy face wash

by Origins

In the cold and dry months, it’s hard to find cleansing products that clear excess oils and dirt from your face, but that also moisturize and don’t dry out your skin. The great thing about Origins products is they are all-natural, so there are no harsh additives or ingredients to harm your skin. Checks and Balances has a few of the following ingredients: kelp extract, wheat protein, tourmaline, spearmint, and lavender. At $18.50 USD, it’s a bit pricier than drugstore cleansers, but a tube of cleanser can last 2-3 months or longer. Origins advises Checks and Balances to be used in the morning and evening with tepid water, but I’ve found warm water works best in the morning and cold water at night. The warm water enables your pores to open up more, which is good in the a.m. At night, it’s better for your pores to be “closed,” so cold water works better. With my combination skin, I noticed I still had some dryness around my chin and cheeks, but my t-zone improved a lot with the Origins cleanser. Therefore, I recommend this cleanser, but I also suggest using a creamy moisturizer to ward off dry skin.

Thank you for purchasing the first issue of Askew Magazine. We’re hoping you might take a few minutes and fill out this survey and send it back so us so that we can improve future issues. Just to say thanks, if you do this you will receive a free poster for your trouble. What poster is it? It’s a mystery!

How old are you? ____ Male or female or other? ____

Please rate the following articles in numerical order, giving your favorite the lowest number.

What led you to pre-order Askew? |__| Interview from a band I like. |__| Interest in Jrock in general. |__| Promotion (Ie: free photoset). |__| Other (Please explain, we’re dumb).

|__| |__| |__| |__| |__| |__| |__| |__| |__| |__| |__| |__| |__| |__|

_____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ What are your favorite bands? (So we can kidnap them for you.)

_____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ What do you least want to see covered? _____________________________________ What would you like to see covered the most? _____________________________________

Glay live pictures and introduction 2008 Golden Bunny Awards Celestia Lecial interview Mucc Interview Camino Interview Rentrer En Soi Interview Juno Reactor Interview Sugar Interview Kaya Interview Suicide Ali Interview Gearbox feature Women of Visual feature Indies band introductions Fashion content

Would you be interested in a mailing list with updates about Askew Magazine and material going live on our website? |__| Yes! |__| No! Leave me alone! Are you a “Myspace user?” |__| Yes! (You have us friended right?) |__| No! I am too good for “Myspace!” Are you a facebook user? |__| Yes! |__| Nope!

What kind of material would you be interested in seeing inside of a subscribers-only website? |__| |__| |__| |__| |__|

Additional interviews Staff blog Video clips Askew blog with band entries Forums

How much Jrock related material do you purchase each month? (Be honest!) |__| $1-$10 |__| $10-$50 |__| $50-$100 |__| $100+

That’s it! You’re done! Now all you have to do is tear this page out and send it to: ASKEW MEDIA INC. 9901 W. Sahara #1119 Las Vegas, NV 89117

Oh, we’re so not done with you. We want your letters! How was our first issue? Was it terrible? Did we fuck something up? Was it so awesome it burned a hole straight through your brain? We want to hear it! So send it over to dearaskew@askewmagazine.com and we’ll print and respond in the next edition. You can also submit your artwork to fanart@askewmagazine.com for consideration. Only the best. No stick figures, ok? While you’re waiting for the next issue head over to askewmagazine.com for the latest music reviews, interviews, Jrock news and more. Hookup via Myspace, Facebook, or RSS to make your life even easier. See you there!