Wednesday Campanella Interview

Wednesday Campanella has completed their new EP " Triathlon ". This is the first time they have welcomed an outside producer in addition to the member Kenmochi Hidefumi, and you can experience their surprising charm with "Napoleon" by OBKR and "Yuta" by Oorutaichi.

In the two years since their debut, Wednesday Campanella has been garnering attention at a rapid pace. This time, we spoke with lead singer KOM_I (also in attendance: Dir.F) about their growth, including changes in their musicality and live style, from past works to their latest releases. Their freewheeling style, which doesn't belong anywhere in the music industry, seems set to really take off from here.

2015.4.15 interview＆text: Yuji Tayama photo: Masamasa Nishino (Portrait)

Rapid changes in musicality and live performance

--We first met in January 2013, so a lot has changed since then.

KOM_I : Yeah, really! I started singing without having done any recording, so I was wondering what to do at the time.

--The song was also more chill. In that sense, I thought at first that it was going in the direction of Theory of Relativity. The track is completely different though.

KOM_I : Yes, the texture and temperature of the voice, the surreal lyrics, etc. may have been similar. However, after I started singing in a rap-like style and my facial expressions started to change, the slight Yakushimaru (Etsuko) Sanpo feeling disappeared. As for the tracks, it was around the time that I was trying to release something more folk music-like.

--In the early days, did KOM_I ever not voice her opinion on Kenmochi's demonstrations?

KOM_I : No, that's not true. I would say that I wanted to change the lyrics here if I thought it was a bit vague as a listener. I don't have the skills to do anything with my singing ability, so I have to let the song and the track change. At first, there were three girls in the group, but I think I said it more than anyone else. I was the most vocal, but I was the least motivated (laughs).

--What kind of music do you like as a listener?

KOM_I : Speaking of Kenmochi, I really liked Ray Harakami when I was in high school, and I used to listen to "Red Curb" on my way to school. I also listened to a lot of instrumentals by CORNELIUS. I've always loved Naomi Chiaki and Ringo Shiina, whose songs I like.

--It doesn't seem to have much to do with the times. When it comes to songs, do you like passionate vocals?

KOM_I : Ah, that's right. I feel like the things that stay with me are strong songs.

--But that's quite different from your early vocal style, isn't it?

KOM_I : It's completely different. I think it's obvious, but when it comes to voice, I almost never take the music I listen to into consideration. I don't pay attention to female singers in particular, including their performances. There are times when I can learn from male artists, though. I watch live performances by artists like Denki Groove, Yasuyuki Okamura, and Rekishi with the intention of stealing their music for my performance.

--I wonder why that is.

KOM_I : Hmm, I wonder why? Maybe it's because I'm not feminine inside. I don't think about being feminine on stage either. The more funny faces and weird movements I make at live shows, the more women tell me I'm "cute," but I look at those reactions very objectively, thinking, "Oh, so that's how it is" (laughs). I think both girls and boys look down on me a little.

Dir.F : In terms of performance, there are so many groups nowadays, and there are not many artists who stand on stage alone with dignity. There is no one to refer to.

-- Campanella has a really strong feeling of being alone when they perform on a big stage. There's a huge space behind them.

KOM_I : It stands out. I think that without support, it's the same as idols or DJs. But since they're singing and dancing, they're completely idols, but I feel like there's something new about them being in the opposite position. How should I put it... I don't really understand the idol scene.

--What do you mean?

KOM_I : Of course, this doesn't apply to all idols, but one thing I've found annoying when watching underground idols is how otaku hate the girls' growth. They may seem like they're cheering for them, but they hate growing up, which is what's called refusing to mature. When I see a girl who was originally smart and humorous start acting more and more like a baby while MCing, it just makes me sad. I know there's a demand for that, but it makes it even more difficult.

--You're saying that excessive demands from fans can create an unhealthy situation. It's true that Campanella is the exact opposite in that respect, and I get the impression that fans want you to keep trying new things.

KOM_I : I think so. No matter what I do, they don't say anything (laughs). The staff team is the same. They let me do what I want, they tell me to play as I like, and they'll figure out what to do after that. I make mistakes in front of other people, but I enjoy that kind of environment.

Dir.F : In the first place, we started this unit because we wanted to do something that crosses values and scenes that had never existed before. Of course, each of us has a role to play, but we are a team that has relationships that transcend age and position, and we try to think and act together.

KOM_I : It doesn't really have to be for music nerds, but ultimately I want grandparents and little kids to enjoy it too. Otherwise it's not the real deal.

--Is it only recently that you started thinking that way?

KOM_I : Yes. It was a coincidence. We started out because we wanted to do something interesting that we liked, but after releasing our first album, "Crawl and Backflip," we felt like we didn't feel good if people didn't laugh or enjoy it, and we felt lonely. So we took a big turn with our second album, "Rashomon," and evolved into a new style up until our fourth album, "Take Me to Onigashima." After making that transition, I thought that this kind of musicality would have a big impact on radio and TV, and gradually I wanted to do pop music.

--I imagine at first you were unhappy about being on stage alone.

KOM_I : I didn't want to do the live performance itself. It wasn't that fun for about a year after I started. Still, I felt like I had no choice but to do it, and it was really tough mentally... I've never done anything I didn't want to do in my life. But after I started watching the live performance footage and trying to fix my performance, it started to get a little more fun.

--That was also around the time you started incorporating dance.

KOM_I : Around "Mitsuko". Takemori-san (note 1) gave me advice on staging, and I think it started with training on how to place the center of gravity, such as knowing which part of the body to pull and how it moves. I liked that it wasn't a so-called dance lesson. If you show your act, you won't be able to express your own personality. I think that Kazunobu Mineta of Gin Nang BOYZ's strange movements are much more attractive than that. It's cooler to develop the movements that come naturally.

(Note 1) Tokuyoshi Takemori: Choreography, direction, and staging guidance. Choreography and guidance for "Wednesday Campanella." Head of Hatsuden NOTE.

--Do you do a lot of simulations before a live performance?

KOM_I : We don't decide on an MC, just reviewing the dance and singing. The most important thing is to bring it to the level where we want to perform live. Campanella is not the type of group that can be satisfied with set movements and songs. It may be that live is originally like that, but there is a lot of value in bringing it with willpower. From last year to this year, I've been thinking about how to improve my condition. There are quite a few things that I don't understand myself. Even if I sleep well and eat properly, I'm hit by a sense of emptiness. I think everyone has it. When you wake up in the morning, sensitive people can tell, "Today is this kind of day." I just enjoy facing it head on.

Dir.F : I feel like you've started to understand how to find your own pace recently, right?

KOM_I : Yes, quite a bit. That's why I'm consciously reducing the number of live performances. I've had a lot of experience, so the time when I did a lot of performances is over, and the challenge from now on is how much I can put into each live performance.

--So now we've entered the next stage.

KOM_I : Yes. Also, I'm easily influenced by the size of the venue and the density of people. I really hate the feeling of being enclosed, so I think I'm probably a plant-like type (laughs). I can stretch my wings more in halls, festivals, and other outdoor venues. Everyone says I'm worried because I'm alone, but that's not true at all. I get more excited in bigger places. I was born with it.

Is "triathlon" a well-timed shock therapy?

--I'd also like to hear about your new EP "Triathlon." All three songs are really good. From "Rashomon" to "Take Me to Onigashima," you were honing one weapon in a kind of extension, but this time you're starting afresh, right?

KOM_I : Yes, I wanted to start afresh. I actually wanted to change it with "Take Me to Onigashima". In the end, it was a very strong album full of great songs, but I thought that it would be no good to just keep going in this direction to get even stronger. I've always been easily bored, so I've reached my limit (laughs). Kenmochi also wanted to learn more, so I thought I'd try entrusting it to a different producer. It's like going on a journey.

Dir.F : If we were to produce only one song, Kenmochi would have time to do new things, and I thought it would be good for KOM_I to work in various production environments. It's strange to say that we're saturated, but even if we do it in the same place, the way we grow is the same, so if we have a different experience, I think we'll be even more powerful. I wanted to reach a completely unknown demographic. With this work, I wanted to destroy all of Campanella's previous images.

What specifically did you want to change?

KOM_I : I wanted to change the tone. Kenmochi-san's tone was limited. Also, I think that we released 4 CDs and they sold well, but on the other hand, people outside were worried. They weren't interested in "Wednesday Campanella is kind of subculture, right?" and they gradually drifted away. They watched the PV only once and never checked it out again. I felt like I was on that side too. I wanted to incorporate that. I understand the feelings of people who listen to it a little and end up saying "It's like this, I get it, I get it," so I wanted to somehow convince them. Without that strength, you'll never be at the top.

--Changing producers gives you an opportunity to listen to the album again. If the result is something that really hits home, I think it will pique your interest.

KOM_I : But when we released the music video for "Napoleon," I was surprised to hear people who liked our previous "Momotaro" songs and such have responded in a way that "this is not what we wanted." So it was dangerous! If we didn't change now, it really wasn't going to happen in time. We were doing a lot of different things, and we thought we were being asked to take on new challenges, but our listeners were becoming rigid, and the danger I mentioned earlier was starting to emerge. So I think it's like we're giving everyone a shock therapy at the right time.

--In that sense, these are three great songs!

KOM_I : It's like, "Don't mess with me!", really. These three songs are filled with the will to "become even more amazing."

--First of all, the first song is "Diablo". In this song, Kenmochi is also like "What the hell!" It starts with "It's a nice bath" and is a bit disappointing for a moment, but the tempo change and the raging development are super cool.

KOM_I : That's right! It was the last one to be finished, but Kenmochi had been watching the production process of the other two songs during that time, so I think he was inspired by it. It's my favorite of Kenmochi's songs so far. Also, around the time of the "Demon Extermination Pilgrimage!" tour, I was addicted to public baths (laughs). I'd take a bath before a live performance to get energized. While I was in the bath, I thought, "What should I do today?"

--Not after it's over (laughs).

KOM_I : I'll go first. But he didn't know that I was into public baths, it just happened that "Diablo" was made.

--Ahahaha. Well, Kenmochi's lyrics don't really take KOM_I into consideration at all.

KOM_I : That's good (laughs). There are a lot of things I don't understand. I sometimes explain the lyrics and sometimes I don't, and if I start, there's no end to it.

Dir.F : It seems like people have given up listening to it lately.

--Regarding "Napoleon" and "Utah," what aspects were difficult or fresh for you compared to Kenmochi?

KOM_I : With OBKR and Oorutaichi, I thought about how to exchange songs and lyrics from scratch. "Napoleon" was the first time I recorded it in a recording studio. I usually work in a room (laughs). For "Yuta", I went to Taichi's house in Nara.

--These two songs have a deep sound, but they also sound pop.

KOM_I : Hmm, I don't know about myself. I just do what I like.

--But wouldn't any of these three songs be good A-sides?

KOM_I : I had a hard time deciding which song to choose for the first one. These three songs are challenges imposed on me, and they are called "triathlons" in the sense that they are three different sports.

-- "Napoleon" seems difficult to sing. I think it's a song that can be said to be a test of your singing voice. The lyrics flow more smoothly than ever before.

KOM_I : It's true, singing was difficult. But when I first heard the song, I really liked it, so I would sing it all the time while walking. Rather than practicing in a hurry, I learned the rap that way.

-- "Napoleon" is hip-hop, isn't it? The lyrics include "my man" and the content is ambitious. I think the sharpness of the words "I" and "It!" really gets you hooked. What about "Yuta"?

KOM_I : Actually, "Yuta" is the most like me, even among the songs I've sung with Campanella so far. I'm like this. The words don't really have any meaning. This is originally a sacred song from Miyakojima, but I really like cultural anthropological themes like that, and indigenous songs and languages. The sound that flows in a quiet place is the closest to my true self. I feel at ease when I'm close to the earth. It's a joy to be able to release parts of myself that are connected to my roots into the world through my work.

--I don't think there are any opinions like "it was better before" when it comes to the positive power of "Yuta."

KOM_I : It's exactly the power of the sun. "Utah" feels like an island, village, or land in the sun. "Napoleon" is a dark, urban, shadowy image.

--Finally, please tell us how you view Wednesday Campanella now.

KOM_I : I think it's very healthy, even the pace of the live performances. Everything is finally in order, and I have few worries about selling again from here. I've learned how to improve my performance. I know what to do. There are more people in the team besides the three of us, but the balance is good.

Dir.F : These three songs were released with a feeling of starting over, or starting from zero, and they give off a mood that suggests we can do anything.

KOM_I : It's really ideal that this is the first nationwide release.

1st EP "Triathlon"
Release date: April 15, 2015
Price: ¥1,111- + (tax)
Product number: TRNW-0090
Available at CD stores nationwide

【recorded music】
1. Diablo
2. Napoleon
3. Utah