xinfinityl0ve17

Latest Posts by xinfinityl0ve17

Mana:

At the final stage of merveilles i felt like I saw a light within myself. Or rather i sensed it. I thought that might be an easier way to express it. But in reality... You’d think it came across clearly.

Gackt:

When it comes to live performances, ones that are carefully constructed, i sometimes wonder is that really okay? Of course it's not like it’s 100% perfect. Also you're always aware of the camera. I'd like to try using it more intentionally. Definitely.

Back during the live video Voyage, there were parts I just couldn’t be satisfied with. It wasn’t like we were consciously shaping the footage ourselves. You can really tell the difference between when you're aware of the camera and when you're not. Compared to that, this time we had more cameras and various new elements.

Actually, when it comes to balance, that one buffer, how we manage that, really matters. Promotion video technology has come a long way too. But honestly, I think it might be better to break the whole concept a little more. That’s just my personal view.

There's this assumption that everything is going to be captured on camera. But if I were allowed, I'd like to try breaking away from that. I wonder if that would really be okay. Still it’s not that easy.

The current situation with MALICE MIZER makes it even harder. To capture their live performances, we really have to think about where to put the cameras and how many to use. There are people who can’t see MALICE MIZER live. For them, video becomes the only window in.

So as a way to give them that experience, I’d love to just place cameras and film a live. Without overthinking it, maybe even using 200 cameras. But in the end, what we always struggle with is how to shoot the stage without interfering with it. Maybe we didn’t fully utilize some of the camera angles either. Fundamentally, there are things that cameras simply aren’t meant to capture.

“People used to say we were heretical or something.”

“Rock is freedom.”

“Maybe Malice Mizer is pure rock in the sense that it breaks definitions.”

— So, you guys really got criticized a lot, huh?

Közi: Oh yeah, it was intense.

Mana: I often heard rumors like, “He hasn’t played guitar recently? Isn’t that kind of dangerous?”

Közi: And I’d be like, what exactly is so dangerous about that?

Mana: Rock is supposed to be about freedom, right? I mean, as long as it's for the sake of expression, I think it's fine to do anything. So the fact that people even think that’s “dangerous” I find that mentality itself kind of dangerous.

Közi: Exactly. So in that sense, what people call “rock” sometimes isn’t rock at all. Even if there’s something out there saying “this is what rock is,” I think real rock is about breaking that definition. That’s why I think Malice Mizer might actually be pure rock.

— Yeah, definitely in spirit.

Mana: Seriously, the feedback from live show surveys used to be so harsh. Like, “He doesn’t even play guitar anymore, he’s just happy wearing dresses, right?” I got told stuff like that. A lot.

— Whoa, that’s really rude.

Közi: Yeah, and when people who thought like that left, we didn’t try to stop them. But it was sad to be judged on just that one thing.

Mana: But who knows, maybe that same person who left back then is re-evaluating things now (lol).

Közi: Honestly, people tend to have such a narrow view of things , not just with music, but with everything.

— But at the time, you were desperately trying to express something through music. Still very much musicians then (lol). So, was the concept Mana had in mind back then already the foundation for Malice Mizer?

Közi: Yeah, it was. And that concept hasn’t really changed, even now. The name “Malice Mizer” comes from the idea of “malice and misery” , expressing the malice that lies deep within humans, theatricality, and the unpredictability of life.

Back then, we hadn’t developed the kind of staging we do now. We were closer to a traditional band, really. The music had classical influences, and we had twin guitars. Gradually we added in more theatrical elements. Even now, we’re still experimental , but back then, it was all trial and error.

— Were there any other bands at the time expressing themselves in such a comprehensive, theatrical way?

Mana: Well, we were part of the visual kei scene, sure, but I don’t think there were any others doing it quite like us. Probably not. There’s often this idea of “this is what a band should be,” but we really wanted to break that and create something new.

— So that was your youth…

Mana: Then I moved to Tokyo and became a madam (laughs).

— And that’s when you met Közi, during your “madam era.”

Közi: Yeah, Mana already had a well-defined style. I just kind of slipped into it. I thought, “Hey maybe we can create something really intricate together.”

— Did you listen to demo tapes back then?

Közi: Yeah. I also saw a video of Mana’s old band in Osaka. He was playing guitar like a rock , totally still (laughs).

Mana: Back then, it was all about the playing. I was still pretty inexperienced. I didn’t have any concept of staging or performance , it was just about the sound.

ESP Jeune Fille J:F-450

The model name is French for “young girl.” Its striking see-through blue finish matched beautifully with the elegant dresses it was paired with. From the logo on the headstock to the detailed position markers, every element reflects thoughtful design.

ESP Aka-Uzu-kun AW-550

With a see-through red finish that evokes the passion of youthful blood, this model features intricate inlays that seem to wrap around the body, and a swirling motif that gives it a sense of refined elegance. The name “Aka-Uzu-kun” carries a distinctly Japanese charm.

GIGS 1998

Klaha [MALICE MIZER]

●Klaha

“I'm not as delicate as everyone thinks. I've got pretty thick nerves.”

PROFILE

(From left): yu~ki (B), Mana (G), Klaha (Vo), Közi (G)

The band name, MALICE MIZER, holds the meaning of “malice and tragedy.” Their concept driven songs soaked in a medieval gothic atmosphere, and their live performances transcending mere “shows” are truly worth experiencing

“I've been influenced by the other members in a lot of ways.”

- Klaha who joined MALICE MIZER as their vocalist last summer had already known the members for some time before officially joining the band. But what led him to make the decision?

“I’ve never really been interested in the band scene. What I’ve always cared more about is simply wanting to sing. But I felt like, if it’s MALICE MIZER, they could help elevate my singing and that my singing might also deepen their musical expression. To me MALICE MIZER is a solitary presence radiating a unique, lonely aura that you can’t find anywhere else.”

- For Klaha joining the band didn’t just affect him musically it also had a major impact on his fashion sense.

“We actually go shopping together sometimes (laughs). Before that, I always wore all black like, even in summer I’d be wearing long sleeves, sometimes even a coat. But after joining that started to change thanks to the other members. These days I’m into more natural styles. Since MALICE MIZER delves into such a fantastical world, I think it's more interesting to keep things natural in daily life. The contrast feels really refreshing.”

- Klaha is currently exploring a fashion style he’d never embraced before. Naturally, that comes with some missteps…

“When I only wore black i could tell what suited me without even trying it on. But now, even when I’m sure something looks good I’ll try it on at home and the collar will look weird or something. I mess up a lot now (laughs).”

- What about his hair styling habits?

“Well i put some styling lotion in and wrap the ends of my hair around my fingers to give it a wavy look, like natural curls. But if I zone out, I end up curling it the wrong way inward instead of outward. When that happens, I just spray more lotion, run my fingers through it and mess it up like, ‘Whatever, good enough!’ Honestly, I can’t even draw a decent circle, I’m that clumsy. So if it’s not working out, I just give up and move on (laughs).”

- A great cook and athletic too. But a bit of an airhead!? Tall, slender and quiet, he might come across as delicate and highly sensitive. But Klaha’s real personality is surprisingly relaxed and easygoing.

“People assume I’m terrible at sports, but actually I’ve got pretty good reflexes. If there were a sports festival for visual kei bands, I’d totally want to join (laughs).”

- One of his talents is cooking—he says he can make almost anything without even looking at a recipe.

“I haven’t cooked for the other members or staff yet, so they’re all kind of skeptical about it. But what really gets to me is when people say I’m an airhead. They say the way I talk is kind of offbeat, but I’m like. What exactly about it is off? As far as I’m concerned, I’m explaining things logically. It all makes perfect sense to me totally perfect, actually (laughs).”

Klaha in SHOXX #121 (March 2003)

(credits to the one who has this photo)

Translation:

There were quite a few voices saying that Klaha’s live performance on the “MAR” day of the “Luawataru no Anchor” tour felt deeply connected to life itself. Regardless of whether the songs were previously released or not, the fact that he could convey each emotion through his raw, unfiltered voice, before the songs had even fully sunk into the audience’s bodies, seemed to have a deeply moving and positive impact.

The unreleased song “Romanciaisn ow leaves~”, which served as the gateway into the latter half of the main show, carried with it a luxurious charm wrapped in a soft, embracing fragrance—delivering an early Christmas mood. During “Chocolat”, a fleeting, delicate piece, Klaha sat on a raised platform at the back of the stage, showing an ennui-laced side of himself. There was even a glimpse of unexpected cuteness, and I couldn’t help but feel like I caught a rare glimpse into a hidden side of him. Or was it just me…?

Then came “Sayonara”, gently closing in on the show’s final act. As if to further paint the world of “Sayonara” in even more beautiful colors, the following “penguin” saw Klaha begin to inject dynamic movement into its romantic and lyrical atmosphere.

The final song of the main set was the aggressive, unreleased track “Prism of image”. With this song, Klaha radiated a kaleidoscope of emotional light, offering both intense passion and deep intoxication and the main show came to a dramatic close.

During the encore, he performed the unreleased, baroque-techno style track “Tamashii ga Irodzuku Shunkan” ("The Moment the Soul Gains Color"). For this one, he took up a guitar and sang while strumming, showing yet another new side of himself. Then, the live performance at Shibuya ON AIR WEST, where his journey first began came to a splendid conclusion with the fitting farewell number “Green Tsutaetai Omoi” ("The Feelings I Want to Convey").

Of course, the opening and ending songs that framed the concert were also works Klaha had crafted especially for this day. Visually the production was intentionally restrained, and performance wise he kept the setup simple with just keyboard and guitar backing him. It was a stage entirely focused on expressing Klaha’s voice and message conveying his emotions as they are now and where he’s heading from here.

And so, this day’s opening act will lead into the upcoming February 15th performance at Akasaka Blitz: “Nostailab Kaihō Prism”. Be sure not to miss how this journey continues.

MALICE MIZER LIVE merveilles The End and Fate in NIPPON BUDOKAN 1998.4.1

Photograph: Hiroyuki Yoshihama

Report: Aya Yokomori

I had heard that Malice Mizer’s live performances were amazing. I had also seen the video recording of their live show at Ikenoya Public Hall on April 1, 1997.

But still, nothing could have prepared me for what I witnessed at their Budokan live show. It far exceeded anything I had imagined based on prior knowledge.

The moment I stepped into Budokan, my eyes widened in shock. The stage set was like a vast, two-story palace chamber, painted in pristine white. And to top it off, classical music was playing throughout the venue.

Where am I?!

That’s how I felt.

Everywhere I looked, fans were dressed in Malice Mizer cosplay, their faces painted with elaborate makeup. At exactly 7:18 PM, the lights dimmed, and the palace set was illuminated, making it look even more like a real mansion.

That alone was enough to make my heart race—but then, the way they made their entrance took it to another level. They rose dramatically onto the stage.

So cool!!

The extravagant, theatrical entrance sent a rush of adrenaline through me. As if that weren’t enough, the performance opened with real violinists playing live on stage. The pure sound of the strings filled the air, and the audience gasped in admiration.

Throughout the show, the visuals were breathtaking—images of Malice Mizer’s aesthetic world were projected onto the white walls of the stage, red and blue lights flashed, confetti flew through the air…

In "Kioku to Kage", the lighting shifted to a serene turquoise blue, transforming the atmosphere from one moment to the next. The power of the stage, the elaborate set, and the overall production were overwhelming.

Gackt’s performance was mesmerizing. At times, he contorted his face in anguish, clutching his head. Other times, he seemed to pray, as if offering his soul to the divine. He poured his entire being into his vocals, drawing the audience into his world. I was completely captivated.

And then, Gackt treated the audience to his signature piano solo, filling the vast Budokan with his hauntingly beautiful sound… At one point, the sound of Gackt’s piano filled the air with a heartbreaking melody.

That sound… it felt as if I were gazing out of a window into a deep, endless ocean. I don’t know why, but a scene from the movie Titanic suddenly came to mind— the image of a beautiful noblewoman’s lifeless body drifting underwater.

Then, as Kami’s drumming kicked in, the intensity of the performance escalated. But what makes Malice Mizer truly incredible is that their appeal goes beyond just gothic aesthetics and dramatic beauty. As the band switched into silver-themed outfits, the mood shifted completely.

They performed upbeat songs like Je te veux and Shûto Uwuburu, bringing a playful, almost pop-like energy to the stage. Mana, of all things, was running around the stage clutching a white teddy bear.

And then, Gackt, who had been so serious just moments before, suddenly transformed into a comedic character! In the first half of the show, he had said something profound:

"This stage may become a place that connects with your hearts." Yet later, dressed in his silver outfit, he was joking around: "Man, this outfit is seriously hot! I'm sweating like crazy!"

Then he went off on a completely bizarre tangent, he started talking about a lonely cat that wouldn’t cuddle with him.

"I thought, 'Fine, be that way! I won’t pet you anymore!'"

But then, the cat suddenly climbed onto his stomach, and he couldn’t resist exclaiming, "Ahh, it’s so cute! I love it!!"

The audience was in hysterics. Then, the atmosphere shifted again. The next performance had a distinctly gypsy-inspired rhythm, and Mana and Kozi focused on an intense theatrical performance.

They captured women dressed in white and brown, forced them into chairs, and enacted a scene that was almost chilling. The sparks from the stage effects were flying everywhere—it was surreal to witness.

After that, the band members reappeared in black, creating a completely different mood. The dramatic, intense performance that followed was mind-blowing. The sound, the movements—it felt like the entire stage was engulfed in a frenzy.

By the final moments, the entire band had gone wild. Kami threw his cymbals into the air. The bassist swung his instrument around so wildly that you could hear it colliding with the stage. The guitarist sent his guitar flying. The stage was pure chaos.

Then, a wave of "Encore!" chants erupted from the audience. Some fans even began clapping in rhythm, trying to start an encore call, but their voices were drowned out by the sheer excitement and emotion filling the venue.

That’s the power of Malice Mizer.

They don’t just put on a show—they pull raw emotion from the audience. One moment, you’re mesmerized by breathtaking beauty. The next, you’re laughing. Then, you’re in tears.

Every single emotion is drawn out and experienced through their performance. By the end, my heart was shaken to its core. I can’t even begin to describe the final scene.

All I can say is… when it ended, it truly felt like my soul had been carried away.

Drifting into the Mysterious Space of the Future

In June, Malice Mizer will release their first-ever video work, "sans retour Voyage 'dernière' encore une fois." This piece, labeled as a digest version of their final indie live performance at Shibuya Public Hall on April 1st, serves as the subject of this interview. Additionally, we will explore the truth behind their upcoming summer standing tour, "Pays de merveilles."

Interview & Text by Yuki Sugie

— Some time has passed, but how was the final performance of "sans retour Voyage dernière encore une fois" at Shibuya Public Hall for you as members?

Mana: Shibuko (Shibuya Public Hall) has about twice the capacity of Seinenkan (Japan Youth Hall), but surprisingly, it didn’t feel that much bigger. One thing I do remember clearly, though, is that during my solo dance corner, I wore platform heels for the first time in a while, and it was a real struggle.

— Walking in them is hard enough, but dancing in them must have been nearly impossible, right?

Közi: In Osaka, I kept falling over by myself multiple times.

Mana: Here I was, striking a perfect pose, looking all cool, and then right next to me, Közi kept rolling around on the floor.

Camui Gackt: (From the stage, visually, it did look a bit small.)

Mana: I heard that because the building is old, the seating arrangement is much tighter than in modern venues, which makes it feel smaller.

Gackt: Even the stage itself felt pretty cramped when standing on it. But still, I had the real sense that we had moved forward compared to our Seinenkan live. That said, it’s already in the past. Right now, I can only think about what’s ahead. We have to keep improving and pushing forward. After all, if we finish a live and think, “Ah, that was great,” and feel completely satisfied, isn’t that the end?

Közi: Wait, does that mean we’re already done? (laughs)

Kami: Apparently so. (laughs)

Well, each member probably has their own way of interpreting things.

Kami: For me, performing at Shibuko was something I had wanted to do for a long time. But once the live started, I became so immersed in the performance itself that I didn’t even think about it. Also, personally, I wasn’t satisfied with the Osaka show at all because of various mental struggles at the time. But at Shibuko, I was able to overcome that, so in that sense, I felt good about it. Of course, performance-wise, I still have a long way to go, but mentally, it was a big improvement for me.

Gackt: That day, Kami had an amazing expression on his face. His intensity was on another level.

Kami: Yeah, by the end, I was really moved. Since my drum set was on the second level of the stage, I was at eye level with the second-floor audience. Towards the end, when the lights illuminated the audience and I could see their faces clearly, I got a little emotional.

— I see. Also, during your drum solo, the glowing drumsticks made their first appearance, right?

Kami: Yeah, that was great! …Wait, they actually glowed well?

— Yes, they shined very brightly.

Kami: Oh, really? (laughs)

— And Közi, how was it for you?

Közi: It was such a long time ago that I’ve already started forgetting things. (laughs)

(Everyone laughs.)

Mana: In that scene where we were expressing the “eros of a confined space,” if you had fallen over, it would have been a disaster. (laughs)

— But you managed to stay on your feet at Shibuko, right?

Közi: It was really difficult, though.

— Speaking of difficult things, Yuki, you had a flying scene that day (as mentioned in last month’s live report). Wasn’t that scary?

Yu~ki: I’m not really a fan of heights. We did it in both Osaka and Tokyo, but since I wasn’t used to it, my stomach was in knots the whole time.

— I can imagine! That sounds intense. (laughs)

Yu~ki: I was in a “Hurry up and lower me down!” state. You know, it felt kind of like those pirate ship rides at amusement parks.

— Like Flying Pirates or Viking rides?

Yu~ki: Exactly! Those things make me super nervous.

Gackt: Ah, so it felt like the excitement of a first love?

— Uh… I think that’s a different kind of nervousness. (laughs)

Gackt: Oh, it’s different? Hmm. But for me, riding roller coasters brings back memories of my first love.

— What kind of first love did you have, Gackt?! (laughs)

Gackt: Well, when you’re on those rides, doesn’t it feel amazing? Is that weird?

Yu~ki: I can’t handle them at all. I’m the type who turns pale and breaks into a cold sweat after getting off. (laughs)

— And yet, you still decided to fly on stage at Shibuko?

Yu~ki: Yeah… Somehow, before I knew it, it was just happening. (laughs) But really, everyone worked hard that day.

A Journey Through Music and Illusion

On June 9, MALICE MIZER will release their first full album "Voyage sans retour".

Following the glamorous performances they showcase on stage, this album captures the same grandeur and intricacy within its compositions.

Here we unveil the full scope of this dazzling masterpiece!

Interview & Text by Yuki Sugie

Photographs by Yousuke Komatsu

The nationwide tour that took place at the end of last year was titled "Voyage sans retour." With the album title being "Voyage sans retour!", it’s almost the same title, isn't it?

Most of the tracks on this album are ones we performed live after our revival.

What was the intention behind selecting these tracks for this album?

mana: I think the previous album was a little one-sided in some ways, but this time i wanted to create an album with a variety of songs. So we focused on the tracks we performed live and tried not to stick to a single image. The idea was to create something with a range of different vibes.

Camui Gackt: In the end this album…

mana: This is our first album after the lineup change, so it’s significant in that sense. The title comes from the idea of "a journey", reflecting the flow from our revival live in October until now. But a journey can mean many things. For instance, you could interpret life itself as a journey. For us, we wanted the album title to have various interpretations depending on the listener's perspective. We didn’t create the album with the theme of “Voyage” in mind from the beginning. It was only when all the songs came together that we decided on the title. Out of the tracks on the album, some of them were never performed live before...

STYLE MALICE MIZER

The act of "expression" is not something exclusive to a specialized field. For artists and creators involved in music if we were to put it simply, it is a means of offering hints and proposals that are deeply rooted in one’s personal sensibilities.

This series serves as a method to refine and cultivate those sensibilities in other words, it is a means of expression itself. Life itself is a style.

---------------------

Photography = Yohsuke Komatsu (印), Saori Tsuji (◇印)

Featuring MALICE MIZER

Guest = MALICE MIZER

Text by Kazumi Kanoh

Composition = Kazumi Kanoh

Photographs by Yohsuke Komatsu, Saori Tsuji

---------------------

ADDITIONAL SORROW

At first glance with their extravagant costumes and makeup, they may appear to be a theatrical troupe. At their live performance at Nippon Seinenkan in January of this year the stage was set in a medieval European aesthetic, reminiscent of a scene from a play.

The performance they delivered far exceeded the confines of a traditional rock band. With a spectacle that was breathtakingly opulent, MALICE MIZER has now drawn attention from various fields.

What do they think?

Where are they headed?

While retracing their past and present, we explore the "STYLE" that is uniquely theirs.

[ORIGIN]

Mana: "MALICE MIZER was formed in August 1992, with Kozi and me at the core. From the very beginning our concept was based on an image of medieval Europe. Nowadays we’ve started incorporating more pop elements but back then, we were fully immersed in Baroque and Gothic influences. We also incorporated a significant amount of classical music elements."

Közi: "At first there were no French influences like there are now. At that time there weren’t many bands focusing on twin guitar arrangements, so we wanted to feature guitar driven music."

Mana: "All of our songs were dark in tone."

Kami: "But even back then, we experimented a lot with unexpected elements."

Mana: "Our vocalist and drummer were different back then as well. In May 1993, Kami joined, and from that point on, we started playing more live shows. At that time, we didn’t have the money to advertise so the only way for people to learn about us was through live performances. So we decided to perform wherever we could. At that time, our concept was still very medieval Europe."

Kami: "We were already doing a lot with the stage back when I joined."

Közi: "We’d incorporate something special into our openings. We never made a typical rock band entrance."

Mana: "Back then, everyone was playing their instruments for the entire set, so the opening was the only moment we had to do something unique. But that was also the most exciting moment, so we wanted to make an impact right from the start. We started incorporating stage sets after we began doing one man shows but even before that, we tried our best to recreate our envisioned aesthetic in live houses. Before we became a one-man act we often opened for other bands during tours and even though we couldn’t build a full set we still decorated the stage. We wrapped it in vines, gathered tree branches from the forest, and placed them on stage."

Közi: "Yeah we’d wake up in the morning and start cutting branches (laughs)."

Mana: "Exactly (laughs). We also organized a series of events called "Tragic Banquet", hosted by MALICE MIZER, where bands like PENICILLIN and SIAM SHADE also performed. At the time, many band-led events were happening in Osaka and Yokohama, but we felt like someone needed to take the lead in Tokyo too so we took the initiative (laughs)."

- Fool's Mate 090

II Circo Strano booklet, 1998

I remember someone saying in the formus that Il Circo Strano was among the first recordings Malice Mizer ever released with Gackt, prior to "Voyage."

II Circo Strano~奇妙なサーカス〜

II Circo Strano is a 10-minute long track about a strange circus and its bizarre members. It was published as a special issue of Zappy Magazine that came with a CD. You can listen to an excerpt in the last slide.

Zappy Magazine, Novemeber 1998

"Malice Mizer's stage is like a scene from a movie."

Interviewer: Did you have a clear sound concept when you first started Malice Mizer?

MANA: I’ve always loved classical music and European music. So I wanted to create a band that fused the beauty and sorrow of melodies using twin guitars to create a mix of these elements. I wanted to combine a European, misty, beautiful image (in terms of aesthetic beauty) with the speed and energy of rock. As for the vocal lines I aimed to create music that has easy to listen to melodies while still hiding a sense of longing and beauty within them.

MANA: Of course when we perform I don't want people to say we sound like anyone else. I want to create Malice Mizer’s unique new sound. In terms of atmosphere, we are gradually getting closer to that, but right now we’re still in the process of experimenting and trying to carve out our own sound.

Interviewer: You’ve only been active for about half a year but do you feel like your sound is starting to solidify?

KOZI: It’s still in its early stages just starting to take shape.

TETSU: It’s just begun to sprout you could say (laughs).

Interviewer: You mentioned "aesthetic beauty" earlier but does that mean you want to create a sound that’s based on melodies with an emphasis on an aesthetic world?

TETSU: Yes, that’s right. We’re not necessarily a "singing band," but we do want to place importance on the vocals.

MANA: As for the other instruments if you listen closely you’ll hear that we carefully craft the harmonies with the guitars and bass. But when it comes to harmonies the more we think about it, the more ideas come up. We often struggle with figuring out the best place to harmonize and where we should put the emphasis in the song, so we end up debating quite a bit.

Interviewer: The interaction between two guitars is quite challenging, right?

MANA: Exactly. It’s not like heavy metal, where there’s a lead and rhythm guitar, and then when you get to the chorus, you harmonize...

Malice Mizer Kami

"The number of outfits I have is quite impressive you know. I love shopping so I tend to make impulsive buys (laughs). Yeah I don’t dislike trends either. If I think something is good I’ll often incorporate it right away. But I don’t incorporate trends into my outfits behind the scenes. Fashion is something beyond trends so it’s not really in that dimension for me.

As for the obsession with costumes it can vary depending on the song but to express the essence of the song I focus on the character of each person and the concept of their image color. For me my image color is purple but that doesn't mean I’ll wear any shade of purple. I consider the story of the song and the color choices I make are in line with that.

The reason purple became my image color was during our debut. Before that most of my costumes were based on black or silver. But for the debut I thought, "Why not try a different color?" At first I resisted it with a smile but once I wore it it didn’t feel out of place at all so I decided to go with it and that's when purple became my color.

When it comes to costumes, there’s always some creative thinking involved. For example the costume for "Ver. Aile" had pants with a wide bottom part from the knee down. They were hard to pedal in so I made a foot strap in the same color as the costume (laughs). Before playing the drums I’d quickly turn around and put it on instant performance art (laughs). There are plenty of behind the scenes stories like that.

As for my favorite costume it’s hard to choose since I like all of them and each one has sentimental value... But the costume for "Gekka no YasoKyoku" stands out as one I particularly love. The lines are beautiful and the inner fabric is a lovely purple iridescent material there was a lot of attention to detail even in parts you don’t see. I think that costume has a very high level of completion. Also the white costume I wore this time is another one I really love. It's the one that came closest to my image. We always design our costumes ourselves but sometimes the final product isn’t exactly what we envisioned. But this time it turned out perfectly to the design and I’m really happy with it. It might even be a personal hit (laughs).

The part I focused on the most this time was the wig. It has a blue to purple gradient and up until just before the photoshoot I couldn’t find a wig that matched my vision. I was so worried. Then while I was walking around the city I found a purple wig displayed in a shop window. And the part of it lit up with lights was changing colors to a blue creating a natural gradient. When I saw it I just knew, "This is it!" Even though the store told me it wasn’t for sale I begged them to sell it to me. The shopkeeper asked, “Are you sure you want it with the color change?” and I said, “That’s exactly what I’m looking for!" (laughs). So I really focus on the details like that and I hope everyone will enjoy looking at all the little details too."

Credits to my friend for the photo

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

10.10 (Fri) Deuxième Anniversaire - Splendid Resurrection / 10.11 (Sat) Pays de merveilles - The Door to the Empty Moment

(Contact) Hot Staff Promotion 03-5720-9999

"A beautiful and sorrowful story that was once sealed and forgotten long ago is now being revived here. It's hard to distinguish what's reality and what's a dream as this vast and endless journey transcending time and space weaves a grand tapestry of life and death love in its many forms and contrasts all interwoven together. It could perhaps be seen as a grand tapestry of sorts.

The beginning of it all lies with their Malice Mizer's release of their July major debut single "Ver. Aile In the Empty Moment". From this point, they announced that they would express this grand tale in a three dimensional expansion of soundtracks, stage and film. Without a doubt the nationwide standing tour held during this summer, "Pays de merveilles - In the Empty Moment ~", was part of this initiative, and the video of "Ver. Aile In the Empty Moment de l'image" announced here is also the most pivotal point in this journey. Additionally they have decided to set the stage for this story in a medieval French castle shooting it in the style of a silent film. Therefore from mid to late June, they quietly embarked on bringing this story into form as a film in a deep forest in the outskirts of Paris.

The castle in question is truly like something from a fairy tale or a shoujo manga with noble heirs still living in this stone castle that dates back to the 12th century. The distance from the outer gates to the castle is over a kilometer and within the vast grounds are chapels and clock towers with ivy-clad castle walls adorned with red and white climbing roses. This magnificent setting became the perfect stage for the band who have always incorporated medieval European themes into their songs and live shows since their formation.

However for them, this was also the first time they had done full on acting for a film. Each member had to deeply understand their character’s inner world immerse themselves in it and express it directly through film, sometimes even playing dual roles (like Mana and Közi). While they are known as the "ultimate art collective," this was no easy task. Despite some struggles initially, with their efforts, the final result was a stunning set of visuals. The collaboration between the members' sensitivity and dedication, combined with the ideal setting and excellent staff work, resulted in profound, majestic, and beautiful images.

This video, "Ver. Aile In the Empty Moment de l'image", created on an unprecedented scale in the Japanese music industry is not merely a promotional video nor a film. It is a groundbreaking and innovative visual work. At the same time, it serves as a metaphor for the riddles and hints contained within the story that has unfolded through the three dimensional expansion. The relationships between the characters, the hidden intentions in the details, and the multi layered interpretations of the silent format are all things that you should savor while unraveling this work."

Yuki Sugie

Photo credit: Cantavanda

Malice Mizer Vicious 11 // November 1998

Scans done by manieravitium on twitter and @additionalsorrow on tumblr

It comes back around. That way we discover and grow together. We are also a mirror, and so are the people who come to watch. When you send out a signal, it doesn’t become one way.

The live tour "Ville de merveilles - Transparent Spiral" by MALICE MIZER at the end of last year had many surprising aspects. Among them fans who had previously associated them with a medieval image were amazed by the futuristic stage set and costumes, as well as the band's new side and the wide range of their concepts.

In this page we focus on the first half of the live show featuring a photo session with the debut of the futuristic costumes and move on to discussions about their vision of the near future from the live performance.

From the opening the two songs featuring synchronized dance by all the members were eye catching. Gackt, Mana and Közi stepped in a regular pattern while Kami and Yu~ki played the percussion wildly behind them.

Kami and Yu~ki joked, “We can do anything so it’s okay.”

It was a moment that reaffirmed that they are a group that can use any means of expression. First let’s discuss the concept behind each of their costumes.

Mana: “It was designed with the awareness of a near future era with something easy to move in.”

Közi: “Surreal and inorganic. I added a slit on the side to make it easier to move.”

Yu~ki: “I tried to incorporate my previous image with the top hat and tailcoat while adding a more inorganic feel.”

Kami: “...I forgot.”

Gackt: “I wanted to make sure it didn’t reflect too much light and liked the color scheme so i chose that material. I aimed for something androgynous that isn’t distinctly male or female and that’s how it turned out.”

Next, we’ll introduce their individual visions of the near future, not just as a band.

Gackt: “When asked what I would be like in 10 years i always give the same answer. It’s too bright to see. Some people might see it as positive others negative but in any case it’s too bright to see.”

Mana: “It’s a fine line between rosy and worst case scenarios.”

Közi: “I’ll swim. While scattering salt in the sulfur.”

Kami: “I’ll spread my wings. The end.”

Yu~ki: “I haven’t thought about it. I want to feel my current self and the thoughts of people so i want to live without worrying about it.”

Now, let’s talk about the concept of the stage. Mana explains:

“The stage set was a little different from the initial design. 'Ville de merveilles' means a mysterious city. To put it concretely, it’s a futuristic and mysterious city. The transparent spiral is a keyword. You remember the mark that was projected onto the stage at the opening, right? There’s a mystery hidden in that, but I can’t tell you its meaning. Actually there is an 'aha' moment.”

Malice Mizer has a grand theme centered around the question, "What does it mean to be human?" The band's very name, which translates to "Malice and Misery," originates from the depths of the human psyche. Their activities as a band can be likened to a journey undertaken alongside their audience in pursuit of answers to this question. Without keeping this context in mind, it would be difficult to truly grasp Malice Mizer's essence.

The theme comes first. To explore and partially highlight this theme, the core of their expressions is always rooted in a concept. For example until shortly before their major debut, they adopted the concept of "Voyage," based on their unique vampire inspired narrative. They released an album titled Voyage and conducted live performances that brought this concept vividly to life.

After their major debut, as is well known, they embraced the concept of "merveilles." Under this concept they released works and performed live, eventually reaching a point where they concluded that chapter of the concept.

The CD releases and live performances up to this point can be seen as keys to understanding and contemplating "merveilles" while approaching the grander theme of what it means to be human. CDs can be regarded as fragments of "merveilles" designed to appeal to the auditory senses while live performances are fragments that appeal to both visual and auditory senses. Even after the release of the album merveilles they continued to release reworked singles of songs from the album. This effort to emphasize fragments of their concept underscores the seriousness of their commitment.

It follows that the live video being released this time featuring tracks from merveilles as well as songs performed exclusively at live events is a natural extension of their concept. Everything they do is grounded in a unified concept.

Although they are sincere in their expression, their live performances are not merely rigid exercises in conceptual work. First time attendees are often stunned by the remarkable balance of artistry and entertainment which reaches levels far beyond what one might expect from any other band's performances. Similar to experiencing the works of progressive rock bands of the past, one does not need to dwell on the concept to thoroughly enjoy the show. "Enchanting noblemen are singing and dancing how wonderful!" That is enough to captivate. However the more you watch the more you find yourself drawn into pondering the concept as if a trap has been set. This depth of enjoyment is one of the secrets to Malice Mizer's popularity which this video release will likely help elucidate.

That said, this video should not be regarded as merely a fragment of a single concept but rather as a record positioned after the conclusion and resolution of a chapter. It serves as an opportunity to reflect on the trail of these men, sincere to the point of being breathtaking, and their artistic pursuit. A fitting end before embarking on a new voyage.

September 1998, Mitsuru Hirose merveilles Shūen to Kisū (merveilles: The End and the Return)

KÖZI (g)

Q. Favorite food

A. Curry, my mother's home cooking

Q. Least favorite food

A. Sea urchin

Q. Favorite drink

A. Tea, Red Eye (a beer and tomato juice cocktail)

Q. Least favorite drink

A. Liquid Cabbage (a stomach relief drink)

Q. Favorite scent

A. It's difficult to put into words

Q. Least favorite scent

A. Various bad smells

Q. Favorite scenery

A. The sea just before dawn

Q. You can cry three times in your life. The first time is when you are born. What about the other two?

A. Ore wa nanno namida mo nagasanai. Da-da-da! ("I won't shed any tears. Da-da-da!")

Q. If you could ride a time machine, when and where would you go, and what would you do? (Past or future is okay)

A. Into chaos. I'd want to see the Big Bang (the beginning of everything).

Q. If you were an assassin, what weapon would you use and why?

A. My hand blade. If you touch it carelessly, you'll get cut!

Q. Unlimited funding is provided. If you were to direct a movie, what kind of movie would it be?

A. Title: Manyan. Tagline: "A city possessed by an evil 'something' where strange phenomena occur one after another. A mysterious fake nose. A terrifying blend of comedy and psycho-suspense horror."

Q. What is the best "moment" for you?

A. Drinking an ice-cold beer after doing good work.

YU~KI (b)

Q. Favorite food

A. Sweet things

Q. Least favorite food

A. Bitter things

Q. Favorite drink

A. Sweet things

Q. Least favorite drink

A. Bitter things

Q. Favorite scent

A. Sweet things

Q. Least favorite scent

A. Bitter things

Q. Favorite scenery

A. A school on a red clay hill

Q. You can cry three times in your life. The first time is when you are born. What about the other two?

A. Tears of emotion and sadness

Q. If you could ride a time machine, when and where would you go, and what would you do? (Past or future is okay)

A. I'd want to see what I look like at the very end of my life.

Q. If you were an assassin, what weapon would you use and why?

A. Fangs to the neck (so I could watch their face as they die experiencing ultimate pleasure).

Q. Unlimited funding is provided. If you were to direct a movie, what kind of movie would it be?

A. A romance film, without worrying about fame.

Q. What is the best "moment" for you?

A. When I'm enveloped in white light.

MANA (g)

Q. Favorite food

A. Of course, Orukubekki's curry

Q. Least favorite food

A. None

Q. Favorite drink

A. Tomato juice

Q. Least favorite drink

A. None in particular

Q. Favorite scent

A. Sweet fruits

Q. Least favorite scent

A. Strong perfume worn by women at night

Q. Favorite scenery

A. White sky and blue sea

Q. You can cry three times in your life. The first time is when you are born. What about the other two?

A. I can't decide something like that.

Q. If you could ride a time machine, when and where would you go, and what would you do? (Past or future is okay)

A. I don't want to think about it since time machines don't exist.

Q. If you were an assassin, what weapon would you use and why?

A. A whip. I'm used to using it.

Q. Unlimited funding is provided. If you were to direct a movie, what kind of movie would it be?

A. The life of a phantom chef.

Q. What is the best "moment" for you?

A. The time when I can sleep when I'm sleepy.

ARENA 37°C (アリーナサーティーセブン) Vol.181 1997年10月

ARENA 37°C (アリーナサーティーセブン) Vol.181 1997年10月

KAMI: When you go on tour i think the tour finale is the culmination of how much you’ve grown during the process. For now, i want to make this tour something great and take it on as a challenge. Touring is such a valuable learning experience and i'm always thinking about how best to express myself as i go through it.

- Previously, Mana mentioned that recent stage performances are completely different from those a year ago. Does the way you present yourselves change as the venues grow larger?

MANA: It’s completely different. For example, when performing at a large hall like Shibuya Public Hall versus a live house there’s a significant difference in the distance between us and the audience. Back in the day we used to incorporate theatrical elements but in larger halls, those details can’t really be seen. That’s why we adjust our presentation and stage direction to suit the venue.

- At your recent performance at Akasaka BLITZ, I felt that while your image evokes dreams and illusions, there seems to be a stark reality behind that. Is that intentional?"

MANA: Yeah, you’ve touched on something pretty important. I think we give off a very fantastical image but at the core we’re actually expressing raw, visceral human emotions. If people can pick up on that contrast, I think that’s ideal.

- Alright, Gackt we’ll wrap up with you. Could you tell us about the significance of the upcoming 'Deuxième Anniversaire ~ The Magnificent Revival' performance on the 10th?"

Gackt: The 10th is a very meaningful day for Malice Mizer. As the name suggests, it’s a resurrection, a rebirth of sorts. It’s also an opportunity for those who have never seen Malice Mizer before to witness us. It might sound misleading, but Malice Mizer is Malice Mizer no matter the occasion. I often say that we are ever-changing but even if the way we express ourselves changes, the core remains the same. We are changing, yet unchanged. I want people to feel that duality. Additionally, the meaning of the 'Blank Moments' in the 'Pays de Merveilies ~ Blank Moments'... I personally felt those blank moments during the 'Voyage ~ Vérité' tour. I want to express that."

- Could you elaborate on that?"

Gackt: On July 20th, during the BLITZ performance, my dog, who had been my only family for over 20 years, collapsed just before the live. While I was performing, they were undergoing surgery. By the time I rushed over after the show, they had already passed away. I don’t know if that was the reason, but everything that day was utterly chaotic. I revisited the metaphorical 'door of blank moments,' and i came to realize that everything starts from that point. That’s why i want to present something meaningful every single day. During the first half of the tour, i was in a slump, but in the second half i want to get even a step closer to the ideal version of myself. I want to remain positive in all aspects, convey that to people and hope they can feel it.

ARENA 37°C (アリーナサーティーセブン) Vol.181 1997年10月

Even for those who pride themselves on being Malice Mizer experts there might still be a lot you don’t know... So we’ve come up with these questions.

This survey painstakingly created overnight by this magazine’s Malice Mizer correspondent was so well received by the members that they even said, “What an interesting set of questions!” (lol). Now what kind of answers did the members of Malice Mizer give?

Gackt (vo)

Q. Favorite food:

Anything spicy.

Q. Least favorite food:

All sweet foods in general.

Q. Favorite drink:

Volvic (water), vodka, wine.

Q. Least favorite drink:

Sweet drinks that feel sugary in the throat.

Q. Favorite scent:

A faintly sweet shampoo fragrance.

Q. Least favorite scent:

The body odor of someone with armpit odor.

Q. Favorite scenery:

The sea at night.

Q. You are allowed to cry only three times in your life. The first time is when you are born. What are the other two occasions?

When I meet someone I can truly love, and when I lose that person I love.

Q. If you could use a time machine, where would you go, to what era, and what would you do (past or future is OK)?

I would go back to the past to atone for all of humanity’s sins by erasing the existence of humans from this world by exterminating the creatures that would become human ancestors.

Q. If you were a hitman, what weapon would you use and why?

Since I’m still an active hitman, I’d prefer not to talk about work...

Q. You have an unlimited budget. If you were to direct a movie, what kind of film would you make?

A story about my birth 457 years ago and all the women I’ve met since then.

Q. What is the ultimate “moment” for you?

When I’m naked and sharing love.

Kami (ds)

Q. Favorite food:

Meat-based dishes.

Q. Least favorite food:

Tofu and potatoes.

Q. Favorite drink:

Melon milk.

Q. Least favorite drink:

Sake, whiskey, etc.

Q. Favorite scent:

Sweet scents.

Q. Least favorite scent:

Anything generally considered a bad smell.

Q. Favorite scenery:

Not night views, but the view from a high place during the day, looking down.

Q. You are allowed to cry only three times in your life. The first time is when you are born. What are the other two occasions?

When someone important to me dies and tears of deep emotion.

Q. If you could use a time machine, where would you go, to what era, and what would you do (past or future is OK)?

Since this is hypothetical, I can’t answer.

Q. If you were a hitman, what weapon would you use and why?

A ray gun that goes “pew pew...”

Q. You have an unlimited budget. If you were to direct a movie, what kind of film would you make?

A movie about a person who rises to power in the Warring States period, with an actual castle built for the production.

Q. What is the ultimate “moment” for you?

Probably when I’ve given my best at a live performance.

MALICE MIZER

● Special Supplement ●

Personal Imagination

Mana

"When I receive letters from fans, it makes me feel saved. I live each day in fear, trembling as I go about my life."

The symbolic mark that represents the keyword "transparent spiral" could indeed be seen on stage. Now that I think about it, hasn't Malice already incorporated similarly enigmatic and symbolic elements in the past? I feel like that might be the case.

"It’s true that we’ve lightly dabbled in that before," said Mana.

The mystery, left as a mystery being able to enjoy asking, "What could it possibly mean?" feels like a test of the audience's sensibilities. The abundant mysteries in their expressions are a significant part of their charm and exploring them is an enjoyable experience.

It isn’t necessarily anything overly occult or niche. The ability to enjoy a sense of mystery is something many people naturally possess. That’s precisely why they’ve managed to gather so many fans and captivate them. After all even someone with no prior knowledge simply seeing their photos would undoubtedly find them quite mysterious. One could even say they are overwhelmingly enigmatic.

At that point whether someone leaves it at “Oh, so there are people like this” or becomes curious enough to dive into their expressions saying “I want to hear and see more,” depends on the individual’s disposition. The fact that so many people are willing to explore further is what’s driving their growing popularity. In other words, it’s proof that the number of people capable of enjoying a sense of mystery is immeasurable.

However, I’d like to delve a bit deeper into the keyword “transparent spiral.” A spiral… a spiral staircase, perhaps?

"I think many people might say 'spiral staircase,' but that’s not it," said Közi.

Then perhaps it relates to genetics, DNA…?

"Oh, that’s sharp of you. It’s somewhat along those lines, like something intertwined. But I think it’s better to leave it up to individual interpretation from here on out," said Mana. He then added the following:

"The concept for incorporating dance into the opening stage revolves around the theme of a spiral that aligns with the first song, Je te veux."

This song, Je te veux, is a new track included on the album merveilles, set to release on March 18. The music was composed by Közi. According to him:

"It has a kind of ’80s new romantic vibe (lol)."

It’s a danceable song, but by listening to it and reading the lyrics, one might catch a glimpse of the concept of the spiral.

Ah, I mustn’t forget, Mana’s mention of the opening dance. Közi had previously said:

"We decided to make it like something MAX-level (a reference to a Japanese dance group), so we practiced a ton."

But what exactly is Mana’s concept?

"An image of a B-grade idol from space in the 1980s. Probably not something most people know about (lol)."

Speaking of which, around 1981, there was talk about idols said to have come from space...

"The song started to take on a different feeling, and the way we approached it also changed.

With the existence of wind, and so on i feel that I am sensing a sense of closeness or maybe i should call it a difficulty in perceiving it in myself."

By the way, with the arena performance now complete and 'Le ciel' being released as a single, the merveilles series is finally coming to an end, right? However, when I think about the final scene expressed at the Yokohama Arena performance and the atmosphere at the ending of this song, I can’t help but wonder… is it really over? There’s a part of me that can’t help but feel doubtful. So, what’s the truth about that?"

Mana: "Who knows? There might be something new starting from here… but it’s not yet the time to talk about that, so I can’t say. Well, it’s certainly true that i can’t say it’s over in an absolute sense."

Interviewer: "Exactly. The way the sound cuts off at the end of the song feels like it has some deep meaning hidden behind it. Why did it end that way?"

Gackt: "Well, why do you think it is? In fact, I’m curious to hear how you felt."

Interviewer: "Hmm… i felt a certain loneliness. It gave me a sense of being left behind, in a way."

Mana: "I see."

Gackt: "To put it another way, that feeling comes from Sugie san’s own sensitivity and past experiences, which made you feel that way. And that’s okay; everyone can feel it in their own way. And in another moment if you listen again, it might leave you with a different impression. On the other hand, what we aim to present is music that creates different stories and landscapes within each listener over time."

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

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

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

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

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

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

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

Hmm? "Fearful..."?

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

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

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

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

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

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

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

MALICE MIZER

"Bara no Konrei"

The Promise Made at Midnight

An Exclusive Look at MALICE MIZER’s Debut and First Lead Role in a Movie

TEXT: KIMIKO KKM MASUBUCHI

An exquisite, beautiful, and aesthetic world set in medieval Europe. Anyone who has even once glimpsed the world of Malice Mizer would have sensed that a moment would come when they would make their screen debut. I, too, am one of those people. And finally that moment has arrived and in a spectacular way as both their debut and their first lead role.

The movie, The Promise Made at Midnight: The Wedding of Roses, explores themes captured in its tagline: “The forbidden decadence of pleasure not meant to be seen or touched.” It is a gothic fantasy of humans and vampires, searching for eternal love and beauty. This film is intertwined with the world Malice Mizer has developed over years of musical activity with the soundtrack featuring songs primarily from the album Merveilles. This feature flowing through the entire film is an essential element that gives it a distinctive character. The film’s style reminiscent of films from a bygone era reflects the reverence for their music.

One of the most surprising aspects is the casting. The characters are tailored to each band member’s unique persona so their passionate performances feel natural even to those familiar with Malice Mizer. While musicians appearing in movies do not always add depth to their musical activities this work offers both longtime fans and newcomers a way to see Malice Mizer in a new light as a continuation of their journey.

TEXT: YUKI SUGIE

An endless dream. Endless loneliness, endless sorrow. This is a story of “eternity,” portrayed in deep contrasts between midnight black and blood red beginning in silence and unfolding dramatically.

One of the most striking elements of The Promise Made at Midnight is its use of a talkie-style classical technique and the bold casting of Malice Mizer. Director Takehara captivated by their unique presence and charisma, wrote the screenplay himself. This project, a massive collaborative work between Takehara’s vision and Malice Mizer, a group that has pursued a distinct aesthetic rooted in tragic beauty has produced something truly one of a kind.

Kozi’s presence embodies the conflicts and challenges of reimagining a vampire archetype, capturing the role with precision. Mana, with his enigmatic mannerisms holds a crucial key to the film’s complex storyline. Yu~ki with his remarkable performance as a vampire seems almost born for this role. Whether as actors or actresses, their presence will certainly draw viewers into a surreal, hypnotic world.

This world is one that only Malice Mizer could bring to life. Eventually, the night gives way to dawn, and the story reaches a pivotal moment. What will bring salvation, and what will be the source of tragedy? What was “fate,” and what was inevitable? I hope you find the answers to these questions in your own heart.

Malice Mizer

"Let’s Play with Wax Figures!!!"

February 24, 2000 – Tokyo Tower Wax Museum

Mana sama dressed in a new black outfit from Moi-même-Moitié (the brand by none other than Mana-sama himself) and i ventured to the Tokyo Tower Wax Museum. The last time i visited here was in elementary school. I vaguely recall being terrified of the "Western Torture Room." Well guess what, it’s still here! This room set up to prevent people from forgetting the horrors humans once inflicted on each other is full of grotesque displays. The background music is ominous enhancing the sense of dread. Ten minutes in here and you’d go mad! As i felt my spirits sinking i glanced over at Mana-sama, who was completely unfazed. I asked, "Doesn’t this make you feel sick?" Mana sama replied calmly, "Not at all." "I've been interested in things like this since i was young and i used to read books like The Encyclopedia of Torture." (Mana)… The Encyclopedia of Torture! There really are all kinds of books in this world.

Aside from the torture chamber the museum is packed with wax figures of rock musicians and movie stars. When i suggested, "Maybe it would be fun to take some rock inspired photos," Mana sama even tried to climb over the railing to pose with the figure of Deep Purple (a British hard rock band active mainly in the 1970s). Suddenly… BEEP! An alarm went off! Mana sama also took photos with Julia Roberts from Pretty Woman and Arnold Schwarzenegger as the Terminator. For “unreleased” photos he posed with Venus and Bacchus. Mana sama you naughty thing! …Or so i thought but Mana sama was quick to say, "Make sure to mention that I wasn’t actually touching her chest!" to avoid any misunderstanding.

Living

Loving

MALICE MIZER

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

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

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

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

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

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

(Text by Ichikawa Kazumi)

MALICE MIZER

APRÈS MIDI

Live at On Air West '96.1.6

PHOTOGRAPHY: MOTOKO SASHII

REPORT: TOMONORI NAGASAWA

Invitation to a Lovely Masquerade

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

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

SHOXX 118

A Single Album as a Grand Picture Story

Malice Mizer is finally releasing their 1st album “memoire.” This work is a complete concept album. What is the aim they have set?

In the visual rock scene numerous works are continuously released each month. However, the reality is that most bands releasing works in the form of CDs or videos are either affiliated with various labels or rely on the support of those labels to release their works operating under what is known as a sponsored system.

For example take Malice Mizer. They believe that the best way to express themselves is to cultivate their own field so they have been regularly hosting an event called “The Tragic Dinner” at Shinjuku Loft since last November involving themselves and young bands around them in the creation of a new scene. The guitarist MANA who responded to this interview saying: “We want to make Malice Mizer a brand. To do that it’s ideal to create everything by our own power.” This statement left a deep impression on me.

To further expand their field Malice Mizer will finally release their 1st album “memoire” on July 24 through the label they established, Midi:Nette. Moreover they have completed this album as a grand concept work where various landscapes are interwoven based on a single theme.

“Our aim is to evoke the sadness that lurks deep within humanity through our music. To achieve this, we established the concept of ‘nostalgic memories of the past’ as the basic theme of the album.”

Recently more indie bands have started to create concept albums. However in their case the total story across the six tracks is obvious and each track contains various situations, settings, and devices. For example, just considering the introduction of the album:

“In the first track, a piano piece, the same phrase is repeated over and over. The aim here is to have a repetitive phrase that resembles going round in a spiral staircase, serving as an introduction to the album's story, indicating that the journey into past memories is beginning.”

As mentioned earlier all six tracks included this time are crafted into a story as a single narrative. Moreover, “Each track establishes various scenes of memories from different countries, and to clearly express each member's image, each member plays the protagonist of the story for each song, reflecting it visually in the jacket.” This demonstrates their thorough commitment to concept work.

This is a truly remarkable product, where sound, visuals, and story are all beautifully intertwined into a single narrative.

PROFILE

Malice Mizer consists of five members: TETSU (Vocals), MANA (Guitar), KOZI (Synth), YU-KI (B), and KAMI (Drums). For inquiries regarding “memoire,” contact Midi Nette at 03-3781-6674.

MALICE MIZER

“Merveilles” The End and the Return TOUR '98 / 7.22 Yokohama Arena

A dangerous drug that captivates those who see it

Text: Roku Ono

Photo: Miwa Oya

"Starting around 4 PM i t began to drizzle which soon turned into a downpour. Even with umbrellas it was only a slight comfort against the incredible intensity of the rain. In the midst of it, girls, filled with thoughts of Malice Mizer and a desire to get as close to them as possible, gathered while desperately lifting the hems of their dresses and cloaks.

On July 2nd at Yokohama Arena. Fans gathered for the final of Malice Mizer’s concert tour “merveilles" The End and the Return~TOUR '98," forming a long line from Shin Yokohama Station. Commuters completely unaware of what was happening, passed by with looks of sympathy and curiosity at the girls dressed in the most inappropriate outfits for the rain. But they didn’t care about that. Ignoring the rain, the fans gathered..."

February 23, 1997, Clear skies

FC (Fan Club) Exclusive Event

HAPPY BIRTHDAY KAMI - 17,432 Days Left Until Extinction Commemoration

Strawberry Picking and Hato Bus Tour

So, we went on the Hato Bus Tour. It's a bit late, but here's a report on the event. The schedule was:

8:00 AM: Meet in Shinjuku

8:40 AM: Departure

Trip to Nagatoro Town in Saitama Prefecture, where we visited Hodosan to view the plum blossoms (we took the ropeway).

Lunch at Seibu Nagatoro Hotel.

Then, we went strawberry picking in Chichibu City, Saitama Prefecture.

We returned to Shinjuku at 6:00 PM.

Of course Kami and all the members seemed to have a great time. As for everyone who participated… there's no need to say anything more, right? Now, please enjoy along with the photos.

Here’s the ropeway we rode that day (edited by Közi). It’s called "Monkey No. 1". It was super comfortable (Kami). - Photo 1 top left

Yes, everyone, this is the Ume Hyakka-en (Plum Hundred Flowers Garden). Please don’t lag behind and follow along! (Mana) - Photo 2 top right

To my beloved…MaCheri - Photo 4 bottom right

In front of MaCheri - Photo 3 bottom left

As you can see from the two photos above, the “MaCheri” part of the tour name was somehow changed to "MaSeri", which gave us a big laugh. This happened at the hotel where we had lunch (even though the name on the bus was correct...).

Yukari Ōba

Yukari Ōba is the exclusive fashion designer for MALICE MIZER. All of their costumes are her work.

People with titles like "planner," "editor," or "writer" often like to separate their jobs into small roles. As a result, some people end up with two or three titles and end up saying how busy they are. Among them i think the profession of designer is currently being broken down into the most minute distinctions. It’s not just about people who create design sketches, cut fabrics, or shape the garments—there are specialists in hats, accessories, knitwear, and so on. I can understand if someone with a foot fetish only wants to make things related to feet, but recently, something’s been bothering me. It starts with the question of whether it's okay to refer to Ōba-san simply as a "costume designer."

She’s responsible for the image of MALICE MIZER after their revival. Under the name of costumes, accessories, and hairstyling, she handles everything from patchwork to welding (pay attention to KAMI's hands this time) to even the stage props. Can we really call her a "designer" or "costume person" in just one second?

However, as I was agonizing over this, Ōba-san spoke enthusiastically, saying, "This part was really difficult, look at it! Oh, and here too..." She talked joyfully about how she changed the fabrics little by little and factored in lighting effects. She said with a laugh, "People often tell me, 'No one will notice you went that far,' but I love doing it." Through her words, I understood one thing: Ōba-san doesn't care what she's called, as long as she can create costumes. It’s her passion. That's why such lively, remarkable costumes are born from her work.

Mana

Mana had told me, "I imagine the feathers gently falling off!" (laughs). It wasn’t meant to change that much, but after making it, I thought, "I want to make it cuter," partly because too much of the legs were showing. I used a fabric called washer organza for the feathers, and also incorporated it into the underskirt, creating a tutu-like effect with about four layers to add volume. The pom-poms were something Mana brought in, saying, "I want to attach these somewhere," and when he attached them herself, she said, "It's cute!" (laughs). Actually, he also made the wig and chains with his own hands.

The butterflies on the wings aren’t real, of course (laughs), but I dyed each one individually. Even in places where it seems casual, there’s a lot of effort behind it (laughs). The fabric for the costume was something Mana requested, saying he wanted a luxurious material that looks like beads. I brought various options and he was especially fond of this one fabric because it’s very light. He even said, "It feels like I’m wearing nothing, this is perfect!" (laughs). It was a hit (laughs). As for the accessories, he said he wanted something with the feel of a wedding fountain with light shining inside it (laughs). I remade it several times to create something that bounces back when touched.

We also tore up light blue feathers and embedded them. We worked hard on even the smallest details that might seem like nothing at first glance (laughs). To make sure the guitar strap doesn’t get tangled, I discreetly made the wings detachable with Velcro (laughs).

Közi

Közi is someone who likes to plan everything from the start. When I first saw the design, I thought of a fiery phoenix, so I decided to make it based on that image. The fabric is the same as Mana's but in a different color. He said, "I've worn something like this before." This time, he wanted something that resembled a jumpsuit. Even though it has no elasticity, I went ahead and made it, but when he wore it, he said, "It's tight..." (laughs). Even though it was restrictive, he’s someone who enters the role through appearance.

The feathers on the chest were dyed with a gradient because I wanted to add that effect, but balancing it was tricky. While adjusting during the fitting, I mixed in red, which is his signature color. This jumpsuit also has Velcro to make it easier for the guitar strap to pass through. The accessories ended up looking very different from the design sketches because when we attached them to the sleeves, it made playing the guitar difficult (laughs). So, when we finished one sleeve, we decided to wrap it around his neck, creating a more luxurious design. The wings on his back are made from aurora film, which changes color depending on the light, appearing red or gold. The material is aluminum, making it very heavy, but the overall cohesiveness of the costume is strong, so he managed to play with it as it was. As for the strawberry hat, we added three-dimensionality using feathers, doubling its size at Közi’s request.

By the way, when he wears the costume, he’s 196 cm tall, from his shoes to the top of his head (laughs). All the members end up being around that height, right? So we make the inseam 100 cm. People always ask, "Who on earth is going to wear these?" (laughs).

Yu~ki

He had an image of a "beast" in mind, and even Yu~ki himself said, "This is quite an adventure." The skirt was actually his first try—a dress made of enamel, something we figured out together during the fitting process. It’s a double-layered design, with the back being longer and slits cut into it, creating this eerie look. The bones are designed to resemble human bones, adding shadow to enhance the effect. The back is made of two layers of umbrella-like fabric, with a sheer fabric sandwiched in between to create a shadow effect. At first glance, it looks like a single layer, but there's a lot of depth (laughs). In terms of time, his costume was the fastest to make because once Yu~ki decides on a design, he sticks to it.

Yu~ki, from the start, based his look on the initial image and always strives to get as close to it as possible. The hardest part was dealing with the enamel fabric's texture. Although we wanted it to look big, enamel has this shiny, slick look, so we used a technique like gathering to create a pinched effect, making it appear more three-dimensional, even under lights. This time, it's sleeveless, but the tattoos he recently got give it a good balance. However, it seems it takes quite a long time to paint his arms, which is a challenge (laughs).

Kami

For Bel Air, it seems that the design he envisioned was difficult to realize. This time, I adjusted the shape of the collar slightly upwards to make it easier to take off. Since taking off the costume was a concern, I incorporated his favorite Rurubar lace in two layers and embroidered it with CD sequins to give off a subtle shimmer, ensuring that the fans could see the light reflecting off it. The sequins were also added to the wings, inspired by his recent thematic focus. They create a fantastical effect, with a gradient from blue to purple as the light shines on them. The wings are the largest element, but they’re lightweight, which allowed Kami to say, "I want to perform while wearing them" (laughs).

For the headpiece, i dyed a cup and embedded black feathers as an accent giving it a mysterious shape that he can just throw on. Lately, he’s been wanting to wear a pink wig that he bought himself, but it’s a bit too intense, so I’m thinking of adding some mesh to tone it down (laughs). The overall concept was inspired by looking at an insect encyclopedia, specifically butterflies. Additionally as Kami insisted from the beginning, there’s a tail attached (laughs).

Gackt

This time, all the members wanted to have wings, so that served as the basis for the design. The members had very detailed requests, particularly Gackt, who was inspired by his favorite movie, The Crow. He wanted the outfit to highlight his beautiful body lines, so while the design is simple, it also needed to allow for movement. Ideally, I would have preferred a stretchy material, but I was determined to use cotton velvet, which has a dark and moody atmosphere, while also creating the effect of gold shining through the darkness.

The cotton velvet, combined with cut velvet, made sitting difficult for Gackt, but when the light hits it, the gold stands out clearly against the black backdrop. The wings, which he was very particular about, were designed in three layers. When closed, they fold up slightly, but when fully opened, they span 4 meters. For live performances, Gackt uses strings to control them, allowing the wings to spread open. The construction is sturdy, with hidden mechanisms for the strings, making the wings quite heavy. The wings were made using about four different patterns, and sequins were added so that when the light hits them, they appear three-dimensional. We used an incredible amount of feathers for the wings as well.

The end

"This action which is almost unthinkable in the norms of rock bands, stirred up mixed reactions. However, this also became a hot topic and further boosted their popularity. You can witness this in performances like "S-CONSCIOUS," where they all wear bondage costumes and deliver digital hard tunes, and in the pop like "Je te veux," where all members except Gackt play percussion instruments while performing. In "Brise," there's even a scene where Mana rides a roller scooter around the stage, showing a playful expression.

Additionally, what deserves special mention is that many of their songs are very "pop" and easy to remember. The songs, crafted under the concept of medieval Europe possessed delicate and melancholic melodies. The meticulous and heavy arrangements, combined with Gackt's sweet and silky voice, polished these melodies into superb pop pieces that left an indelible impression, one that lingered long after you heard them. In fact, every single they released after their debut charted high in the hit rankings. This DVD includes live performances of singles with beautiful melodies such as "ma chériebeloved to you," "Gekka no Yasoukyoku (Moonlight Nocturne)," "Bel Air In the Blank Moment," and "Le ciel." Tracks like "N.P.s N.G.s," "Je te veux," and "Brise" also feature catchy melodies and are fan-favorites at their live shows. Moreover, there are many rare video clips included, such as the solo performance "Hamon/Concerto" where Gackt's piano intertwines with Kami's drums.

The DVD culminates in the final scene at Yokohama Arena, where all the members appear with feathers larger than their height. Among them, Gackt, with black wings reminiscent of a fallen angel, floats in the air and passionately sings "Le Ciel" while bleeding. It is truly a dreamlike scene that embodies the "ultimate visual kei." After watching this, it's easy to understand why, even after MALICE MIZER disbanded, there have been very few follower bands. With such a perfectly realized world, there was no room left for anyone to follow. They are indeed a one of a kind band. This DVD fully captures their appeal, and it's a must-see for anyone who hasn’t yet experienced the sound and visuals of MALICE MIZER.

From SHOXX 179