INDEX
The significance of Izu Studio as a location engraved in “Quruli’s Film”
– Other than “going into the studio and creating from scratch in a session,” was there anything else you decided on in advance for this production?
Kishida: Basically, we decided to do it with just the three of us, without including any sounds from players other than the three of us. We also had a LINE group of the three of us where we would say, “Let’s do it like this,” or when the three of us met, we would talk about how we wanted the music to be like this. When the three of us were working together originally, we had a lot of freedom in terms of ideas and attitude. When the three of us were working together, we were free to do whatever we wanted, for better or for worse.
We did a lot of things that deviated from the “this is what a band is supposed to do” or “this is what a guitarist is supposed to do,” so I thought it would be better not to make too many rules at the beginning.
– In terms of music, are there some keywords like “1990s alternative” or “1960s British rock”?
Kishida: We talked about those things a little bit, but it was quicker to get the sound out than to dwell on it, so we just made a good setup and recorded the song in a good sounding condition, and then we just made the most of the sound of the studio itself and the engineer’s work. There are some songs that we discussed “how this song should sound like,” but there are also songs that we just created without discussing anything like that.
– Was there a reason why you chose Izu Studio?
Sato: We preferred a training camp to an environment where we had to commute from our respective homes or hotels every day. Of course, there was the fact that we would be filming, but I thought it would be better to be in an environment where we could eat the same food, drink the same alcohol, and have serious conversations that end up getting everyone drunk.
– You had a vintage table and equipment, a nice room sound, and the environment was a good fit for the music we were trying to do this time.
Kishida: As a result, it turned out to be a good fit. At first, we were thinking of renting a place like an inn in the countryside and bringing our equipment there, but considering the time and effort required for transportation and engineers, we are glad we decided to go to Izu. It’s a rather classic studio, including the tables, which is something you don’t find in Japan these days, and I think it suits the music we’re trying to make and what we’re trying to do.
Mori: I have also used Izu studio several times, and the environment is very nice, with good food and the ocean nearby. Some studios in town are closed off, but Izu-Studio has large windows and a relaxing environment.
There are many things we know about each other and things we don’t know about each other when we have been apart for a long time, so it was important for us to close the gap a little, and to have a drink after the studio.
