INDEX
The Journey Behind LEO Imai and Seiichi Nagai’s Present-Day Success
What were you most focused on during your activities in the music scene at that time?
LEO： For me, there wasn’t really a clear scene to be part of. I often found myself wondering, “Where do I belong?” especially in the early days. I didn’t quite fit in anywhere. But as I kept going, I eventually started meeting people in the same field.
And that’s how KIMONOS and METAFIVE came about.
LEO： Yes, exactly.
Nagai: Those who possess a unique individuality tend to become more sought after as their careers progress. I believe that’s true for me as well. As time goes on, connections naturally start to form around you.
Sōtaisei Riron has always been a rather solitary entity. I don’t think there’s ever been much discussion about which bands they’re close with. Perhaps someone has written about it, but they’ve never really given it much thought. Even now, there’s never been a situation where they’ve said, “We feel a bond with this band, so let’s tour together.
Nagai: In that sense, I was isolated, but gradually things started to change as I supported various bands. I did THE BEATNIKS, and now I’m also playing guitar in GREAT3. And, of course, I was invited to join this band.
When it comes to your personal career, you’ve gradually taken on more production and support roles since your time with Sōtaisei Riron. Did you always want to pursue that path, or did it just happen as a result of your experiences? Which aspect feels stronger to you?
Nagai: This is just my subjective view, but with each album, the weight of the production grew. As I started refining things until I was satisfied, the intervals between albums became longer. When that happened, I started thinking, “I could do some production or support in the meantime,” and I began sending out signals like, “I’m available” [laughs].
With THE BEATNIKS, I told Keiichi Suzuki, “Feel free to call me anytime for guitar,” and about two days later, I got a message asking, “How about joining THE BEATNIKS?” And I thought, “It’s not Keiichi’s solo project, huh?” [laughs].
Well, doing a variety of things is more interesting, right? As I get older, I realize that life can end quickly if you don’t experience different things, so I’m really glad I was able to expand my fields of activity.
In the 2000s, the idea of “belonging” to a specific group was quite prevalent, with individuals largely operating within their own spheres. However, by the 2010s, social media helped to connect various dots, and it feels both coincidental and inevitable that you two, who were only exchanging pleasantries back then, are now in a band together.
Nagai: When I talk about “today’s generation” (which sounds kind of like an old man, haha), it’s incredible how many people are doing so much supporting work.
They have their own bands as their core identity, and yet you find out, “Wait, you’re also involved in this and that?” It’s like with Ichiya Ohii and Shuda Nishida—they’re so full of energy that you wonder, “When do they even have time to work on their own music?” This might be the norm for Japanese musicians now, and it’s really motivating.
LEO, how do you perceive the changes in the music scene?
LEO： The days when a band would release an album, have hit singles, and tour for four years are becoming rarer. Musicians today need to take on various roles to survive. I think it’s simply due to the shrinking of the market.
Nagai: That’s absolutely true, and that’s why being in a band together like this has so many different factors involved. I also think TESTSET is quite a remarkable twist of fate.
Both of you are still involved in various activities, but has TESTSET become one of your central projects?
NAGAI: Oh, it’s definitely the axis of all axes.
LEO: Yes, TESTSET is certainly one of the main pillars right now.
Nagai： It might sound odd, but TESTSET isn’t just about appealing to niche tastes in music. We’re a collective that has come together with the aim of creating high-quality music, and we truly believe in it. It wouldn’t have meaning unless we have a wide audience. That’s why we want to perform live in as many places as possible—both domestically and internationally. We hope to expand further, including traveling to China and exploring other Asian countries next year.
