It comes close to being life-sized, and it’s an album that has our true music.
--What feeling are you trying to convey with the “Fantasia” part of your album title?
Yamamura Ryuta: Well, “fantasia” means “fantasy,” but we use this word because the album isn’t tied to the rules or format of the classical world. It’s from there that our unified values, our fanaticism about how flumpool has to sound, and the extent to which we cross between the rock and pop genres split apart. We did away with all that, didn’t worry about anything, and express ourselves freely. That’s the meaning we’ve attached to it. It comes close to being life-sized, and it’s an album that has our true music.
--And how did you decide to do an album like this?
Sakai Kazuki: There was a lot of pressure on us to write really good songs, and because of that there was a period of time when we just couldn’t write anything good. Finally, we forgot about everything, went back to the drawing board, and decided that we wanted to write songs that are genuine. When we decided that, we were able to write “two of us” and “Kimi no Tame no 100 no Moshimo.”
--”Kimi no Tame no 100 no Moshimo” is a grown-up song, and the sound and melody are both different from what you’ve written until now.
S: We were nervous about whether Ryuta’s voice would suit the R&B-esqe melody, and if it would work for flumpool. But when we were done with it and took a listen, it fell right into place and we realized that we really can do something like this. We gained a lot of confidence in terms of doing things that are different. Now it’s really fun to write music.
--What changes did you make in terms of lyrics?
Y: We wrote the lyrics from the perspective of momentarily tearing away the worry that comes with the things you can’t say, or that you hesitate to say, out of fear. There are things that make you furious, and even though you can’t put into words how you feel, you’re still pissed off and your heart is pounding. We wanted to put those feelings into words.
We thought we’d just put everything out there
--“Guilt” and “Tokyo Elegy” are two songs that are very representative of this frankness.
Y: “Tokyo Elegy” is just looking back on the two years since our debut and feeling lost, wondering if anyone knew us or if this was the right path for us. Until now we’ve always somehow written the answers [to our questions] into the lyrics. But this time, we let the lyrics be about being lost. “Guilt” is meant to evoke the meaning of sin or immorality, and it has the kind of lyrics that we’d never have written before now. It talks about a socially unacceptable love, or a love that can never be fulfilled, and says what a person in that situation would say: a person who has to pretend that they’ve forgotten what’s still deep inside their heart. I think the lyrics aren’t just limited to love, either. We wrote it for anyone who badly wants their hopes to come true.
--I’m sure that you must worry about how the fans will react to these kinds of emotions that you’ve never expressed or performed before.
Y: We were excited for the reaction, and afraid of it. But at any rate, we just put everything out there, and even if there are people that hate it, that’s okay. Of course we’d love for people to like it. But we created it and were resigned to the reaction, no matter what it might be.
--Starting 4/2, you’ll be embarking on a Hall tour with 10 stops and 19 performances. What are your thoughts on the tour?
S: The fact is that this tour will work hand in hand with the album, so we’re going to put our feelings right out there for everyone to see, and deliver our raw sound. We want you to feel how we feel.
Y: This is a bare-naked album, and I have a feeling that the people who can empathize with that are more than friends to us. It’s like we’re joined at the hip. At the live, I want that connection to deepen. We want everyone to come and listen with their hearts bared!
(Interview: Kurebayashi Fumiaki)