Quruli’s Original Members on Their New Album: Embracing the Present Moment

The Album’s Ambiguity Shared with Hayao Miyazaki’s “The Boy and the Heron”

– In the context of what you just said, I think “Morning Glory” is also a symbolic song. It is an homage to “Rose Blossoms,” so I guess that’s why we had to be careful with it, or maybe it was a kind of challenge for you.

Kishida: Yes, it was. The lyrics are completely different, and the melody is structured a little differently, but I used elements of that song as a technique, so it was a bit of a challenge for me. I thought that “Bara no Hana” is one of those songs that is either too well written or too poorly composed, so I thought it would be better to be careful and not aim for a masterpiece. When you say “not aiming for a masterpiece,” it sounds like “it didn’t turn out to be a masterpiece,” but it’s not like that. I guess you could say that you got rid of the sense of levity inside you and aimed for a realistic direction.

In a sense, “Bara no Hana” is a fantasy within a fantasy, as if we don’t know who wrote it. It’s simple and has a realistic feel, but it’s also a bit too well written, so I thought it would be nice to have a song with lyrics that feel a bit more human in “Morning Glory.”

Sato: I don’t think of “Morning Glory” as a tribute to “Roses” at all. The feelings I have when performing the song are completely different, and even if the chord progression is similar, if the tempo and content are completely different, I don’t think of it as a homage at all. Going back to the “In Your Life” song, it was only after seeing the movie that it became clear to me, or something like that. So I don’t think I ever thought of any of the songs as “this one exists because of this one”.

Kishida: In terms of the musical structure of “Morning Glory” and “Bara no Hana,” they have a similar tempo, but I think they are just the same ingredients and the same way of assembling them. It’s the same ingredients and way of assembling them. It is just an idea of a motif in fashion, like “I used a design that was used in the 18th century.”

If we were to copy the essence completely, it would be a restoration work, but the “Bara no Hana” is still alive, so there is no point in making a replica. If we were to use the same parts, we had to create the exact opposite of what we were aiming for, or create something that looked at it from a different angle.

– The song “Morning Glory” represents the idea that while we are connected to the past, the important thing is to put ourselves in the present. I think the song “Morning Glories” represents this.

Kishida: I think this album is actually a rather unkind work. The way Quruli has done things in the past was to incorporate a lot of materials in a three-dimensional way, or to build around unnamed but shiny things that came out of flash ideas, but this time it is totally different from that kind of thing. For example, in a comedy show “Ariyoshi’s Wall,” there is a scene where comedian have to come up with a great comedy in two seconds to get on a train. There, they are given a lot of tools for cosplay. The situation is rather similar to that.

– It’s not something that is elaborately planned, but a game of spontaneity.

Kishida: It’s because of that situation that you have to be quick, and that requires concentration, and it may be the moment when the comedian’s fun comes out the most. It may be the moment when the comedian’s funniest moments come out. This is the opposite of comedy, where everything is written on a screen and the performer says, “This is how it is, this is how it is, and that is why it is funny. I think it’s important to know how hungry the comedian is for fun.

Kishida: That is true even if it is not “Ariyoshi’s Wall.” For example, “The Boy and the Heron,” I think this work is more like that. If you are on the receiving end, you can’t understand what it is. This could be a test for the listener.

– What you just said is an essential part of this work, and I think that’s why it’s titled “Kankaku wa Michishirube,” to go a bit further, I think it has a lot to do with the fact that you, as a player, are a sensual type.

Kishida: Yes, that may have something to do with it.

– In that sense, this album could not have been created without the three of us.

Kishida: Mokkun has a strict fatherly style. I guess you could say that Mokkun’s big man-ness is also incorporated into the album.

– Mori, can you simply name your favorite song on this album?

Mori: I really think all the songs are great, but the first song that the three of us played together on …… was “The World Will Never Change”, which was written with twin drums called “Trixon” (vintage drums made by a German manufacturer). I was very impressed when we played twin drums on the Trixon drums (vintage drums made by a German manufacturer). I felt like I could see a path for this recording, so in that sense, I really like it. But really, I like all the songs.