The path that the proud blue rose has walked with conviction, and its hopes for the future
The movie series “BanG Dream! Episode of Roselia” is currently in theaters, and it consists of “I: Promise1” and “II: Song I am.”. It depicts how the fictional version of Roselia was formed and how its five members strengthened their union. While watching these movies and developing a deeper understanding of the characters and their growth, many people will likely also be reminded of the valiant figures of its voice actress cast. That’s because they’re a “real band” – one that embodies not only the passion and joy that comes with band activities, but also the experience of occasional anguish and setbacks. That’s why the songs included in their upcoming mini album “’BanG Dream! Episode of Roselia: Theme Songs Collection” also resonate with their compelling strength and nuance. So now, we’ll square off against their masterpiece with this cover and opening feature – their fourth time gracing our cover. They have continued walking with the blue rose that symbolizes Roselia held proudly in their hearts. How do they view the album and its accompanying movies? And what hopes do they have for the future they’ll proceed towards together?
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The Words of Five Roses – Part One –
〜The full story of the movies that the five members saw and the entirety of their new mini album〜
Their first movie “BanG Dream! Episode of Roselia I: Promise” came to theaters in April. And this special feature will be released just a few days after the sequel “Episode of Roselia II: Song I am.”. So for starters, we’ll chat with the band about what these two films made them feel and regarding their new mini album that is set to release soon.
I felt like I was watching a documentary about the characters
———What did you think of the two “BanG Dream! Episode of Roselia” movies that are now available in theaters?
Aiba: It reminded me of the importance of teamwork and connections with other people. There are lots of concert scenes with the characters, and I think you’ll be able to sense the depth of the band through those moments.
Sakuragawa: It made me realize the greatness of Roselia, what we’ve been chasing after all this time. Like what Minato Yukina-chan (the character that Aiba plays in the films) wanted when she put together the band. And the kinds of feelings and preparedness that the five of them carry as they walk the path of blue roses. When I saw all those scenes, it felt like the characters were going to guide us through the rest of the year, to take us with them to the future.
Aiba: There were also some aspects that we got to know in more specific detail thanks to the movies, like the context of how some songs in the game (the smartphone game “Bandori! Girls Band Party!”) were created.
Nakashima: In the first movie “Promise”, there’s a scene where Lisa (Imai Lisa/the character that Nakashima plays in the films) tries to write lyrics. And the context behind that song stems from Lisa’s feelings and her relationship with Yukina. It got me thinking that Roselia is the kind of band that’s really experienced so much. But on the other hand, the game goes deeper into some of the story beats, so it feels better to say that it’s one story that’s completed by combining the movies and game together. I believe the movies give everyone a new way to enjoy it.
Kudou: It’s interesting to see the members’ daily lives and how they practice at the studio. They write up their practice schedule on a whiteboard. So I found out that they rehearse like that. I felt like the characters were close to us, so even people who only know about the real Roselia will probably be able to experience the charms of the characters.
———Speaking of what you just mentioned, do you also write out a rehearsal schedule and practice according to it?
Aiba: We don’t ’cause there’s no whiteboard in our studio. But we wanted to adopt that after seeing that scene.
Sakuragawa: Hey-! There’s no way we’d ever stick to a schedule! (*laughs*).
Kudou: Yeah, I doubt we’d follow through (*laughs*).
Aiba: Nah, I’m sure we could if we think one up and write it ourselves!
Sakuragawa: I’m always writing shtuff!!
Aiba: Ah… (*laughs*).
Nakashima: When we’re coming up with our setlists, right?
Shizaki: Meguchii (Sakuragawa) takes notes on her iPad for everyone.
Sakuragawa: Good day! I’m Roselia’s secretary, Sakuragawa Megu. I try to take notes since no one else ever does (*laughs*).
Nakashima: Thank you so much for that.
Kudou: Meguchii is really good at using iPads.
Shizaki: She’s the best at using them, so she writes extremely fast.
Aiba: Right. It’s always so amazing.
Sakuragawa: It feels like they’re trying to win me over… But I’ll welcome your praise and keep on doing my best! (*laughs*).
Kudou: It seems like the characters probably construct their schedule by carefully calculating the length of each song and break in between them. And then there’s us, going beyond our MC time (*laughs*).
Nakashima: We run through hypothetical conversations for MCs when we do full rehearsals, to help us get a better grasp of the overall concert’s flow….
Shizaki: We just end up talking too much (*laughs*).
Aiba: But I did feel some resonance with how the characters think up their setlists. I mean, the only difference is what we use… that’s practically the same (*laughs*).
———(*laughs*). Shizaki-san, what did you think about the two movies?
Shizaki: I could feel the same resonance with the characters. It felt like I could experience the history that both the characters and the real band have built up in just one sitting. In that sense, even though I had the privilege to work on them personally, they’re movies that I have a strong attachment to.
———The movies also depicted the moments right before the curtains rise on the concerts. Seeing the characters’ expressions made it feel just like I was watching a documentary.
Shizaki: I understand that completely!
Kudou: As we’ve been working as the real band, we haven’t had any opportunities to show everyone what things are like in rehearsal or backstage. So seeing scenes showcasing everyone’s nervousness before getting on stage or their walks home after rehearsal made me feel like I was watching a documentary about the characters.
Aiba: Since we’re all serious about our music, there are times when our passions are at odds.
Sakuragawa: That’s right. The scenes showing everyone on their way home were really striking. It was just like us.
Nakashima: Like that part where they’re split into groups of two people and three people and talking. We go home just like that super often.
Aiba: Speaking of similarities to us, there’s a scene where Rinko (Shirokane Rinko/the character that Shizaki plays in the films) is playing air piano backstage. Non-chan (Shizaki) also does that all the time.
Shizaki: I do. I want the musical phrases to soak into my body until the very last second, and I want to relax and ease my nerves as much as I can. But when I was watching, I did suddenly think “ah, Rinko gets nervous too, huh…”.
Sakuragawa: When I saw that scene, I thought “woah, it’s Non-chan!”.
Nakashima: I did too.
Shizaki: Ehh, you did!? (*laughs*). But it’s the same with everyone else too. There really are a lot of scenes where you can feel the links with the characters.
Sakuragawa: The way Lisa moves in concerts was just like Yukki (Nakashima) too.
Nakashima: Huh, what parts?
Sakuragawa: Come on, every part! When I talked with Sanzigen’s director Mimura (Atsushi) for last month’s issue of GiGS, he told us that the studio referenced even the smallest details of our concerts, but I was shocked that it was to that extent.
Nakashima: Like Non-chan said, it might be hard for us to notice that we’re linked because we do these things as an unconscious habit. Man, I need to watch for that again!
Sakuragawa: Yeah! We’d like everyone who watches to keep an eye out for that. Check it out!
———A mini album compiling the songs from the movies called “BanG Dream! Episode of Roselia: Theme Songs Collection” will soon be released. Let’s start with the first song on the album, Proud of oneself. What were your first impressions when you heard it?
Nakashima: I thought it was super cool!
Aiba: It felt exactly like “Roselia”. When I first heard BLACK SHOUT (released April 19, 2017), it conjured up an image of a gothic church. Proud of oneself did the same thing. Even though their melodies are different, they brought to mind the same picture. It’s a song that says “this is Roselia!”. I was so happy that this wonderful song got to be used as the opening theme for our first movie.
Kudou: The lyrics give the impression that Roselia will keep pushing their way onward into the future. The song made me more and more excited for where the band is heading, so that was also nice.
Sakuragawa: I felt like it was our newest way to say “nice to meet you. We’re Roselia” through our music. To those who discover Roselia through the movies, this song will become their first – their beginning. So I think it’s a song I should face carefully and really play it seriously. And I’m also glad that the song starts with all of us singing on our own.
Nakashima: It’s also striking how there are more parts that everyone sings than we’ve ever had before. If you listen to it again after watching both movies, you’ll be able to feel how much the bonds between the members have deepened. And it’s super exciting since it’s a really powerful song.
Shizaki: The melody is beautiful, but the lyrics express our strength and our thorns. It’s a song that embodies roses… or maybe it’s better to say that it lives up to the name “Roselia”. Like Meguchii-san said, it’s likely that many people will start listening to Roselia’s music with this song as their gateway. Based on that, I’m grateful that we were able to create a wonderful song like this. It’s a song that I personally love a lot.
———On your radio show “BanG Dream Presents Roselia’s RADIO SHOUT”, you’ve received letters that say “I’ve gotten really into Roselia because of the movies”.
Sakuragawa: That’s right! We wanna thank them so much!
———From a musical and performance perspective, what were your impressions of Proud of oneself?
Aiba: There are more singing parts for everyone than before. That’s gotta be especially hard for the rest of the band I bet.
Sakuragawa: But there’s this one part that I really like. It’s the one that goes “laa-laa, tra~la-la-la”!
Kudou: And what part is that!? (*laughs*).
Sakuragawa: Come on, it’s the part where Non-chan’s piano supports everyone’s vocals….
Shizaki: Oh, the intro, where everyone lines connect together, right? The piano plays some arpeggio in the background. I thought it’d be fun to copy the way it sounds in the recording and to try doing an arrangement for it myself.
Sakuragawa: Thanks for explaining it for me! (*laughs*).
———Proud of oneself incorporates many of the playing methods and techniques that you’ve used in your musical activities so far.
Nakashima: When it comes to bass, there’s slap before the guitar solo. I think it’s the first time I’ve played such a strongly distorted style of slap.
Kudou: The guitar solo is also pretty long. It feels a lot like a highlight or showcase.
———The first half of that solo uses cutting to make it sound edgy, and the second half also incorporates tapping.
Kudou: Right. Starting around the time of ZEAL of proud (released January 20, 2021), I’ve had a lot more chances to show off tapping during my solos.
Nakashima: When I hear those kinds of difficult parts, I think about how we’re all gradually improving. The people at Elements Garden who handle the songs think “they can probably play something like this now” and are making them harder. It’s actually encouraging how they keep getting harder.
———The drums seem to follow a relatively basic pattern, but there’s precise hi-hat work and tricky alterations in the beat. It appears to be a pretty tough song.
Sakuragawa: Which is why it feels so worthwhile. All of the instrument parts have phrases and techniques that’ll be challenging. If we can master them, I think we’ll be able to level up again. We wanna raise the level of the band as a whole so we can all play together as well as we can.
———What’s the main point when it comes to the vocals?
Aiba: I think the main point of Proud of oneself isn’t any kind of singing technique; it’s that everyone sings. For instance, the intro and chorus have the same melody line, but the part that Non-chan sings in the intro is altered so I sing it in the chorus. I feel like the individuality that comes forth from everyone singing is ever more prominent. I think that style of dividing the singing parts up is an important element that makes the song feel Roselia-esque.
———Up until now, you have had plenty of songs where the singing part is divided up amongst everyone. But the differences in your voices are really clear in Proud of oneself.
Sakuragawa: When voice actors sing character songs, we have to be aware of the balance in our voices. Especially when we sing with multiple other people, like we do in Roselia. We’re concerned about our vocal registers and different vocal qualities. I haven’t really analyzed it in depth yet, but I think Kudoharu (Kudou) and I sing the closest to the sound of our natural voices.
Kudou: I think so too. I’ve also felt like our pitches are similar.
Sakuragawa: Even so, we were focused on demarcating the singing parts to match our characters. So I use a slightly higher range that sounds more like Ako (Udagawa Ako/the character that Sakuragawa plays in the films), and Kudoharu goes lightly lower to suit Sayo (Hikawa Sayo/the character that Kudou plays in the films). The fact that you can clearly differentiate all the voices like you said is probably something special about us being a band made up of voice actresses.
———You can definitely say it’s a Roselia song in that regard. Then let’s move on to the second track, overtuRe.
Kudou: It starts with a unison riff between the guitar and keyboard, so if we get the chance to play it live, I’d like to make more contact with Non-chan than usual.
Nakashima: The lyrics are pretty aggressive, aren’t they? All the characters’ strong feelings are present even more strongly than they are in Proud of oneself. And it sounds like the type of passion and direction everyone is facing is different from usual. I got that impression from the sound.
Aiba: I think a big difference is the style of appeal. It contrasts with Proud of oneself’s elegant and graceful ambiance. overtuRe is filled with power and passion. Words like “sword” and “shield” appear in the lyrics, and the melody line feels like something out of an RPG. Also, I really want everyone to pay attention to the lyrics in the bridge.
———Because of “that phrase” that emblemizes Roselia.
Kudou: It’s finally showed up in our lyrics.
Aiba: Based on that, I think it’s a very fitting song for Roselia. Its wonderful lyrics conjure up all sorts of pictures in my imagination. The melody is also super cool too. Since it was the ending theme of the first movie, I expected it to be a softer song, but it betrayed those expectations in a great way.
Shizaki: I thought it was an interesting song while also being very cool. Because, like Kudoharu-san said, it starts with the unison riff with the guitar and keyboard, and something in the rhythm feels kind of like salsa music.
Kudou: I get that too! There’s a little Latin flair in there.
Shizaki: Yeah. And before the riff, it feels like a symphonic metal song is about to start, and the interlude before the bridge has a gothic horror sound to it… it’s a great song that blends different genres like that. It’s also nice how the part where everyone sings is connected by each of us singing word-by-word.
Kudou: That singing part is extremely cool. But it seems like it’ll be tough to sing while playing, huh….
———Sakuragawa-san, what is your impression of overtuRe?
Sakuragawa: I was amazed from the second the intro started up. It was like dynamic spectacle extreme volume! (*laughs*).
Kudou: That sounds like the name of a pro-wrestling move, but it really is like that (*laughs*).
Sakuragawa: I was surprised because I didn’t expect the ending song to be so intense. But once I finished listening to it, I thought “oh, this ending song is meant to connect it to the second movie”. So if you go see it in theaters after the CD comes out, please give it a listen before you watch~.
———I felt like overtuRe shows off a new singing style. Particularly in the bridge and lead-in to the chorus. Did you use any styles that you haven’t before?
Aiba: Like Yukki said, overtuRe has a fairly strong tone in its lyrics. So I wanted to express vigor and courage in my singing. It’s something that I usually bear in mind, but the elegance of Proud of oneself and the strength in overtuRe are both elements that all of Roselia’s songs share. But the sense of balance is different for every song, so I try to think about which side should be brought to the forefront depending on the specific song.
———When it comes to the musical instrument side of things, which parts have been on your minds?
Kudou: For guitar, definitely the intro. Beyond just playing my own sound, I expect that it’ll be important to be able to play entirely in unison with the synth.
Aiba: I personally really like the part after the second chorus! The sound effect that’s kinda like a strumming piano glissando!
Shizaki: It’s a piano-like style that’s key to the song’s progression. I like it a lot too. Proud of oneself is mainly played with piano tones, and overtuRe uses impressive synth sounds. I hope everyone will be able to enjoy that difference.
———The bass also uses a chord approach….
Nakashima: I was shocked when I first heard it. The chords show up during this high tempo song, plus there’s a series of phrases that use the higher frets… it’s gonna be pretty hard I bet (*laughs*). And the phrases are used to connect sections like a fill, so they really stand out. There are also lots of places where my bassline aligns with everyone else, but this song also has lots of parts where I’m moving on my own.
Sakuragawa: The drums also feel like they’re rushing through the chorus while containing all these different phrases. It’ll be key to express that as well as I can.
To be continued in the second half of the interview!
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The Latest Sound of Five Roses
〜Uncovering the evolution of Roselia’s sound through their latest concert equipment and playing form〜
In this section, we’ll introduce the changes that have been made to their concert equipment and the evolution their playing forms have undergone. We hope you’ll understand the present location of Roselia’s sound as their musical styles, tones, and phrases continue to grow more diverse.
ESP M-II SAYO II Custom
Kudou’s most recent guitar is based on the non-tremolo version of her 2nd edition signature model. The front and rear pickups have been converted to Seymour Duncan Phat Cats (SPH90-1). New features include the adaptation of a Richlite fretboard and the addition of a film on the back to prevent noises from being created by the rustling of her clothes. No matter where you look, you can find changed specs and solutions aimed at improving concerts.
ESP M-II SAYO II FR
Her current main instrument, which features a Floyd Rose Tremolo Unit, was first unveiled at the band’s February 2019 performance at the Nippon Budokan. A number of specs had been altered from the original signature model. These include the change to an alder back body, exchanging old pickups for Seymour Duncan’s Sentient (front) and Nazgûl (rear) passives, and the addition of a coil tap switch.
Kudou’s Playing Form
“I don’t think the length of my guitar strap has changed all that much, but I switched to using teardrop shaped picks after FIRE BIRD came out. Thanks to that, I’ve become a lot more aware of how I use my fingers to control the volume and sound.” (Kudou)
Picking Form
“In the form I used to use, I’d bend the tip of my thumb a little. But now, to play phrases that require more precise movements, I’ve changed my form so it’s more like I’m holding it on its side. Then I play like I’m flicking my fingertips against the strings. Sometimes tapping phrases come right after full picking, so I try to tap with my middle finger while holding on to the pick. And I’m always careful to keep all the fingers on my left hand aligned with the fingerboard.” (Kudou)
Kudou’s Sound System
Kudou’s amp (left photo) is still the same combination: a Diezel Hagen (head) and the same brand’s V412 (cabinet). Following her switch to passive pickups at the Nippon Budokan in February 2019, her amp settings emphasize both treble and bass. Even so, her basic style of producing distortion with the amp has not changed, though she has transitioned to using each of her effect pedals for more defined roles. Her effector board from the end of 2020 is pictured below. Among other pedals, it contains Jaw Breaker – a booster used for guitar solos, MXR’s M234 Analog Chorus – mainly used when playing cover songs, and Eventide’s H9 – used to make solos stand out even more in songs like FIRE BIRD and Ringing Bloom. Kudou is currently working on a significant update to this system in order to further improve her sound. The fruits of her labor will be disclosed in future special features and the special booklet announced on the last page of this current feature.
ESP BTL LISA II
This is the latest BTL that Nakashima has been using in concerts. The basic specs, like the 3-band EQ (ESP’s Cinnamon) and lightweight body made up of a flame maple top & alder back haven’t changed from the second signature BTL LISA model. However, hardware like a slope and finger ramp have been added to improve playability.
Pickups
The front and rear pickups are Seymour Duncan SJB-1s. The model shown in the left photo comes equipped with wide covers for both pickups, but there is also the open-type model that Nakashima is holding in this issue’s photoshoot. Both of these instruments are used as mains, and she selects between them based on each song’s tuning and their compatibility with concert venues.
Joint
A slope has been added in the space in between the end of the neck and the front pickup. At the same time, the bass was modified to have 22 frets in order to maintain space for thumbing. Along with that, the latest model has been further improved by angling the neck deeper as it approaches the front pickup. As a result, the joint has been modified from its former 4-bolt design to a 6-bolt one, so the connection between the body and neck is more stable.
Nakashima’s Playing Form
“When it comes to my playstyle, I want to play while constantly moving around, just like Lisa does. So my stance keeps the neck close to my body. Whenever we have a setlist that includes lots of songs with slap parts, I try to keep my bass held higher. So if you pay close attention to the length of my strap, it changes for every concert.” (Nakashima)
Picking Form
“With the finger rest added to it (top photo), the place where I put my thumb when picking has shifted, and my approach to normal fingerstyle and slap has changed. But I think the height of the finger rest still has some room for improvement, so I want to keep experimenting. I’m also experimenting with my playing form when I slap. If I angle my thumb parallel to the strings, it’s easier to thumb but harder to pull…. So I’ve been practicing a different form where I angle my thumb downwards. I’m trying to see how that works.” (Nakashima)
Nakashima’s Sound System
Nakashima’s amp (right photo) is a combination of an EBS TD660 (head) and the same company’s ProLine 810 (cabinet). This setup has remained unchanged since the band’s formation, but all the settings were kept flat until around February 2019, they changed before the Summer of 2020 to slightly accentuate treble, mid, bright, and drive (top photo). The lineup of her effector board (bottom of the bottom photo) has not changed, but the order of connections has been altered to make each effect more obvious. Her lineup includes EBS’s MultiComp, Darkglass Electronics’ Microtubes BTK Ultra (preamp), KORG’s DT-10 (tuner), MXR’s M108S 10-Band Graphic EQ, Darkglass Electronics’ Alpha·Omega Ultra (preamp), and Shin’s Music’s Perfect Volume PFV1 “LISA”. Just like Kudou, Nakashima is also in the process of trial and error, trying to update her effector board. We have no doubts that we’ll be able to savor a new bass sound at the band’s upcoming Conifer Forest performance.
dw Collector’s Maple Drum Set & Paiste Cymbals
Here is Sakuragawa’s trademark dw Collector’s Maple Series drum set, with two 22”×16” bass drums, 12”×9” & 13”×10” toms, and a 16”×14” floor tom. It features a shell structure called “SSC” (“Specialized Shell Configuration”) that uses a different ply configuration for each individual drum, further enhancing the brightness and warmth that are characteristic of maple. Her diverse cymbal lineup is all manufactured by Paiste, and includes a Heavy Crash 16”, Crash 17”, Medium Hi-Hat 14” (top & bottom), collaboration model Splash 10”, Crash 18”, Full Ride 20”, Crash 16”, Sound Edge Hi-Hat 14” (top & bottom), and a China 18”.
Sakuragawa’s Playing Form
“At first, my thought process was ‘I’ll play with all my strength!’. But then the number of songs we do per concert has increased, the average speed ramped up, and the range of patterns I have to play has expanded. So I started by re-examining my drum set’s arrangement. Then I worked on how I bend my arms and snap my wrists. There are still lots of areas that need improvement, but I’ve finally arrived at my current form.” (Sakuragawa)
Grip Form
“To really capitalize on how I snap my wrists, I’ve started using my elbows like fulcrums. Beyond that, I only hold the sticks tightly with my thumbs and index fingers. Then when the sticks actually strike the drums, I try to grasp them with my other three fingers too.” (Sakuragawa)
Roland JUNO-DS61 & FA-08
Shizaki uses two Roland keyboards: JUNO-DS61 (on the left) and FA-08 (on the right). She uses JUNO-DS to play staple Roselia tones like organ sounds and SuperSaws. The other unit, the FA-08, has five types of piano tones set, and can be played with and without effects. All of these tones are assigned to the favorites switch located at the center of the casing, so it’s possible to switch with just a single action. During performances, damper pedals are connected to both the FA and JUNO, so she can adjust the sustain on piano tones or manipulate effects on synth tones with her feet.
Shizaki’s Playing Form
“A key point I should mention is how the two keyboards are positioned. There are lots of situations where I need to move between the piano and synth in a split-second. So I’ve tried to position them as close together as possible, in two tiers, without letting them get in the way of each other.” (Shizaki)
Keystroke Form
“When I play the FA’s piano tones, I essentially keep a lighter touch, without lifting my fingers too much or letting them lie too flat… I guess you could call that an orthodox form. I use JUNO to make a lot of different sounds, but since the sustain and sound response varies tone-by-tone, I try to modify my form and touch for each one.” (Shizaki)
Step Form
“I’ve had more opportunities to use sustain pedals lately. But since I mainly operate it using my right foot, the two keyboards are arranged so I can easily step on it no matter what I’m doing.” (Shizaki)
Sennheiser SKM5200 / MD5235
Aiba’s changed her concert microphone from a Shure UR2/KSM9 to a Sennheiser wireless mic in Summer 2020. After repeated trial and error, and taking her voice type and performance environment into consideration, she combined an SKM5200 body and MD5235 capsule. The body can withstand instance staging, and the capsule uses an aluminum voice coil to produce an outstanding treble response.
Microphone Stand
Aiba’s mic stand features shorter legs than typical models. This makes it easier for her to move the stand around, such as when she tilts it while singing. The short legs also allow her to make finer adjustments in her distance from the mic. They also help create an aggressive performance style.
Aiba’s Singing Form
“I have a tendency to naturally lean forwards when I sing, so I’m always trying to fix my posture and stand up straight. I realized that it was easier to get my voice out if my center of gravity is further back. Plus, I think that kind of stance is a better match for Yukina’s personality.” (Aiba)
Mic Form
“By changing to a Sennheiser mic, I’ve also had to change how I think about how far away I am from the microphone. Since it picks up sounds from a narrower range than my previous mics, I mostly sing using an on-mic style (top photo) and only add a little distance when I’m singing higher pitched sounds (bottom photo). I’m also careful about not lifting my chin too much to help with the higher tones.” (Aiba)
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The Words of Five Roses – Part Two –
〜Heading towards future stages, carrying new compositions filled with new possibilities〜
To bring this special feature to a close, we’ll share the rest of what the five members had to say about “BanG Dream! Episode of Roselia: Theme Songs Collection” and their upcoming performance. In this interview, which combined with the first part marks the longest in the band’s history, they discuss their solid vision of the future, and the thoughts they speak about are stronger than ever before. Let this be a guidepost to the future beyond – the future brimming with hope that awaits them. Please be sure to read every last word.
The fact that we’re able to keep overwriting things is miraculous, and it makes us really happy
———The third song in “BanG Dream! Episode of Roselia: Theme Songs Collection” is the second movie’s opening, Sing Alive.
Aiba: No matter how you look at it, it’s a fast song. It uses a wide vocal range of highs and lows, and it’s probably the only song we’ve had where I’ve had to start thinking about how to practice it for concerts from the get-go. The verses are relatively low so I can sing them more comfortably, but god, the chorus… (*laughs*). When I listen to it from the audience’s point of view, I think it’s a cool and exciting song. I felt like it would be crucial to figure out how to boost that excitement for concerts.
———At the very end of the bridge before going into the last chorus, your pitch drops and you show off a lower tone.
Aiba: I still have a long way to go, but I’ve been singing as Roselia’s vocalist for four years now, and the range of things I can do has expanded a little. I used to handle the highs and lows in the melody line without much forethought. But now that I’ve gained more experience, I can sing while thinking harder about how to do things. I’ve figured out how to express my emotions in my voice and link them together. But the high tones are still a struggle for me. The entire chorus in Sing Alive is high, but I’ll need to give my all to the final long note in particular.
Nakashima: The range in the melody line is also reflected in our chorus parts. So every time Aiai (Aiba) gives it her all to reach even higher notes, we’re also pushing ourselves like crazy to keep up (*laughs*).
Kudou: And this song has a significant difference between its highs and lows. The highest notes in the chorus are incredibly high, but the lower parts in the verses are very low. I think we’ll have to give our all and hang in there just like Aiai.
———What did you think of the song’s audio?
Kudou: It has a cool, guitar rock vibe. It’s something new, different from Proud of oneself and overtuRe. The guitar has pretty complicated phrases all throughout, so I have to treat it like I’m playing a solo from the very first beat. But I’m not really all that worried about it because the standout instrument when the band comes in is a “dakudakadaka…” drum roll (*laughs*).
Sakuragawa: It’s no joke…!! But still… Aiba-san and I got to watch an advance screening of the second movie before the others did. So when the song started, we turned to each other and spontaneously shook hands (*laughs*). That’s how insanely cool the song is. When we perform Sing Alive in the future, we’ve definitely gotta stick to that level of coolness.
Kudou: I wanna see it soon!
Sakuragawa: And I wanna tell the GiGS readers to listen to the CD only after they hear the song in the movie!
Kudou: So they shouldn’t listen before watching it?
Sakuragawa: I’m not saying they shouldn’t, but it’ll sound so much cooler if they listen to it after seeing the MV in the movie!
Kudou: Makes sense! I’ll wait to listen until after I see it too!!
Sakuragawa: Right! Wait until… huh, you will too? (*laughs*).
Kudou: Yeah, I’ll forget everything about it, even the intro slides that I thought were gonna be hard!
———(*laughs*). How about the two of you, Shizaki-san and Nakashima-san?
Nakashima: For the bass, my first impression was that Sing Alive wouldn’t be as difficult to play as the first two songs. There are lots of phrases that use the full width of the fingerboard, but there aren’t really any standout parts like slap. I’ll need to devote myself to keeping the rhythm. It’s a song where I want to work together with Meguchii and add to the whole band’s groove.
Shizaki: I felt like the keyboard in Sing Alive occupies the same role as the bass in overtuRe. Instead of being a highlight or playing a lead role, the approach is to serve as support, work to create the song’s worldview, and to have a presence in the links between sections. I think I’ll need to have a different state of mind than when I play the main fills or melody. When we play it live someday, I’ll want to change my way of thinking to suit it.
———The first half of the fourth song, Singing “OURS”, consists of only vocals, piano, and strings.
Sakuragawa: I really want everyone to listen to this song after they enjoy watching the movies!
Aiba: That’s right, especially for Singing “OURS”.
Sakuragawa: I bawled my eyes out when this song played at the end of the second movie. I remembered all the different stories and how the characters had worked so hard, and the tears just wouldn’t stop coming…. Even from the intro, the piano tone will leave a deep impression on your heart. So I thought, “Non-chan, do your best!”.
Shizaki: I-I will! Because the song hinges on the piano!
Aiba: Its structure is similar to Our Path3 (released March 21, 2018), but the overall mood is pretty different. But I think both songs are warm and cut through the heart. You can feel what Roselia has been up until now through Singing “OURS”. It’s a beautiful song that lets you feel our will, our determination to keep our gaze pointed straight ahead at the future. And above all else, the lyrics are really wonderful. The word “overwritten” really stood out to me. I feel that way all the time when I perform live and spend more and more time with everyone. All of our memories are incredible, but they’ll surely be overwritten. Just like how we say “I enjoyed that concert, but this concert was even more enjoyable”. The fact that we’re able to keep overwriting things is miraculous, and it makes us really happy.
———“Since no two concerts are ever the same, we want to give our all every single time and make this show even better than the last” is sort of like a motto that Roselia has held since its formation, right?
Aiba: Right. And its thanks to the fans and staff that we’re able to do that. I really wanna thank them for that.
———Was anything particularly memorable about recording this song?
Kudou: This song took us a ton of takes. Not to fix the recording, but to layer the vocal tracks over themselves. Like the title of the song implies, it’s a song that feels like it belongs to all of us – to the five of us.
Nakashima: So even though the instrumental part doesn’t have much, it’s still super deep.
———It’s been unusual for Roselia to go all-in on a ballad like this.
Aiba: That’s true. I mean, there’s Our Path like we mentioned earlier….
Kudou: But the moment when all the instruments come in is more intense than Our Path.
Nakashima: It completely changes the impression of the song.
Aiba: It feels like a strength to keep looking forwards is also expressed. When I received vocal direction, they requested “please don’t make your voice too soft, use your core voice”. I had originally prepared two different approaches. One used a highish voice where I would sing softly and calmly. The other was more powerful, where I’d sing with regard to the band’s determination. Based on that request, I chose to use the latter style.
———I was impressed with how you handled the outro and vocalizations at the ends of the lines.
Aiba: That’s exactly what I was focused on. Because I wanted to express some kindness while still maintaining my core, I chose to sing softly only at the end of each line.
———What do you think about this song performance-wise?
Nakashima: The first half doesn’t have any guitar, bass, or drums, so I felt like it might be a struggle to maintain our energy during that part. Even after the whole band joins in, there aren’t a lot of notes, so we’ll have to be extra careful to play each one correctly.
Shizaki: The first half is just me and Aiai-san. I’m a little nervous since I know I absolutely can’t make any mistakes during it, but I’m also really happy. I want to perform it as Yukina-san and Rinko, working hard to establish the emotional bond between us.
———You could say that this song gives off the feeling of being at a live performance.
Shizaki: That’s right. A big part of the song is how we’ll incorporate our emotions into it while playing alongside a metronome. I think they’ll reach the audience if they listen to it, so I want to work hard so we can play it live.
Sakuragawa: It’s the kind of song where I want to keep that in my mind for the drums too. If we want our feelings to reach the audience, what kind of sounds should we play? What kind of performance should we do? The snare is really like that for me. So when it comes time to actually perform it live, I’d like to look into how I should tune my snare and different playstyles I could try using.
Kudou: I felt like there were a lot of guitar phrases that use crunch, so after I heard it for the first time, I decided to play it with a guitar that has (Seymour Duncan) Phat Cats. But there are some cases where the Phat Cats aren’t really suitable for playing parts that I used to play with the (Seymour Duncan) Nazgûl pickups. So I’m in the process of researching how to match the Phat Cats’ sound… Specifically, I’m trying to recreate their crunch. I hope I’ll get to show off the fruits of my labor when we play the song someday.
———And finally, the album is brought to a close with The Dream after the Rain Clears4. This song is credited to Minato Yukina, and it was performed during the first movie.
Aiba: Right, it’s a song that Yukina sang before she formed Roselia. The mini album contains the version she sings as a high-schooler, but in the movie, she’s been singing the same song ever since she was a little kid. Some of the lyrics have changed based on her age. I’d like for everyone to listen to the childhood version someday.
Kudou: Do you want to perform it with Roselia someday?
Aiba: If we could pull that off, it’d be super emotional. Even in the movies, you never get to see it performed with a band, so that would be a version that has never shown up anywhere.
Nakashima: Okay, then I’ll play it on the mini bass that ESP released!
Kudou: I’ll use the Sayo mini guitar too!
Sakuragawa: There are toy drums for kids out there that I could….
Shizaki: And toy pianos too.
Aiba: Why are y’all assuming it’s gonna be the childhood version!? (*laughs*).
Kudou: Even if we do it as a joke… I’d love to play it (*laughs*).
———When you listen to the version on the CD, the song’s atmosphere is definitely different from the other four songs on the album.
Aiba: The orchestra is certainly something different for sure. It’s like you can feel the difference between five people and one person performing alone. But The Dream after the Rain Clears isn’t a lonely song. The Yukina who sang this song had strong intentions to form a band in pursuit of her own music, and I think that’s also expressed in this song. So I think you can compare and contrast that with the other four songs in the mini album. You have Yukina’s will to walk alone while believing in the power of her music, and you have the strength she found by having friends walk alongside her. I’d like everyone to look out for that transformation when they listen to the album.
As a real band, we’ll make it a concert overflowing with all sorts of thoughts
———After releasing these two movies and the mini album, “BanG Dream! 9th☆LIVE: The Beginning” will be held on August 21st and 22nd. This year also marks the fifth anniversary of Roselia’s formation. Have there been any changes in your feelings and performance when you put on real concerts, or have any parts stayed noticeably the same throughout?
Kudou: The way we walk alongside our characters has always stayed the same. Whether its putting together our setlists or planning our performances, we’re always thinking about what the characters would do. On the other hand, I think the technical aspect has changed. For example, we can learn songs faster and use more playing methods. When we first started out, it took me a whole month just to learn to solo in BLACK SHOUT. But lately, it’s like I’ve been able to play phrases in new songs in a week.
Sakuragawa: I feel the same way. When I start practicing, I go over the sheet music first. But now the work that used to take me days can all be done within an hour. And thanks to that, I’ve had more time to focus on the little details and make modifications where I need to.
Kudou: But when you can play something like that, you start to let your guard down, right? And get careless? Based on that, I’m really thankful for the times we spend practicing as a full band. By playing together, we can think back to the original recording of the song and clearly see the parts we aren’t good at or the parts we haven’t fully figured out yet.
Nakashima: I think I can perform with more composure than before. When I first joined, I usually couldn’t remember anything that happened on stage as soon as I set foot off of it. That’s how focused I was on the things right in front of me. But more recently, I’ve been able to get a better view of everything while playing, and I can really remember all the small details. For what hasn’t changed, maybe my energy? As much as I can say that I’ve gained composure in concerts, my energy straight-up surges when I get in front of the audience (*laughs*).
Shizaki: Before I joined Roselia, I mostly played by myself, so it was a big change for me to become aware of the band’s groove and sense of unity. And of course, I also perform while staying conscious of Rinko-chan. That’s a major change from what I was doing before, but it’s also something that hasn’t changed since joining Roselia.
Aiba: Like everyone else has already said, I also felt a shift in terms of singing and our staging. Because every time I get a new song, it’s like I can see the new tasks and challenges laid out for me. But as a band, our foundation is the characters and their stories. So there’s been no change in our stance when it comes to that. Even when we build our setlists, we always have a goal of keeping things in-line with the storyline. The only thing that’s changed there is that we’ve started using an iPad when we build them… (*laughs*).
Sakuragawa: You’re jumping back to that topic again–? (*laughs*).
———How do you come up with the stories and themes that form the basis of your setlists?
Aiba: We decide while having group discussions. We might say “this time, the concert will be like this, so how about we start with a song that introduces us, and then follow the course of our history?”. To make it easier to understand, take our concerts from last August, Flamme and Wasser. The names mean “flame” and “water”, so based on that, we selected songs that felt associated with the concepts of “fire” and “water”.
Sakuragawa: After we list out all the songs that fit the theme, we start thinking about the concert, like “if we do this many songs, we should add an MC here”. Once the basic framework and composition of the whole show is decided, we usually pick our first and last songs. Then from there, we fill in the rest of the songs.
Kudou: And then after we play through the whole setlist that we came up with in group rehearsal, we discuss it again. “This connection seems a little rough” or “the flow here is really nice, let’s keep it”.
Nakashima: We all share the ideas that come up when we’re practicing.
———Then I’m looking forward to the setlist you’ll come up with for “BanG Dream! 9th☆LIVE: The Beginning”. Finally, could you please tell us how you’re feeling about your upcoming performance?
Aiba: I’m really happy that we get to do a concert with Poppin’Party. Based on how Poppin’Party appears in the first movie and the relationships between the characters, I think it’ll be a very moving concert. And as a real band, we’ll make it a concert overflowing with all sorts of thoughts
Kudou: We were all fans of Poppin’Party before we became part of Roselia. We were watching their concerts even before Roselia debuted. And I was really impacted by what Aiai said during her MC two years ago at our concert at Conifer Forest: “I’m glad I met Bandori”. I’ve remembered it this whole time. So I’d like to make this a concert that will get everyone thinking that way.
Sakuragawa: Since we’ll be performing together with a band that we look up to, there’s a lot of nervousness. But even more than that, I feel happy.
Aiba: And besides, outdoor concerts are great, aren’t they? They make everything feel clear and bright, like you’ll be able to enjoy the music without any worries. It’s a different kind of enjoyment than indoor concerts, so I’d like everyone to enjoy the experience again this year.
Nakashima: This is our third year performing at Conifer Forest, so I feel like I’ve kinda figured out how to enjoy it and what to look out for. We’ve gotten a better grip on some aspects of the performance, like dealing with the heat and getting a good view of the scenery. So I’d like to get our preparations all set up, so everyone can see how we’ve upgraded ourselves after last year.
Shizaki: I’m also looking forward to performing together with Poppin’Party. The two bands have completely different energies, so I hope everyone who comes will be able to enjoy the contrast between them.
———We’re wishing for your success, including the cooperation of the weather.
Aiba: When we got to perform at Conifer Forest for the first time, we thought about how to do the staging in case it rained. But I have faith that we’ll be okay this time. It’s never rained for us before. And besides, I’m a sunny woman5. I always bring the sunshine!
Kudou: Same!
Sakuragawa: Me too!
Nakashima: Another one here!
Shizaki: I think I am too!
Aiba: So it’ll be fine! With the weather on our side, we’ll bloom wildly, sparklingly, and heart-poundingly to the pinnacle!
Breaking News!! Applicant-only Limited Production Service
Roselia Special Booklet “Weg in die Zukunft”6 – Planned for production!
Application Deadline: 7/27
This is Roselia’s 4th time gracing our cover with an opening feature. Based on this, we’ve decided to produce a collaboration booklet in commemoration of this Roselia x GiGS special feature! (Application Fee: ¥3000). Along with some beautiful photographs taken for this issue, we will dive even deeper into Roselia’s ever-changing sound and focus on the deepest layers of the real band, which is celebrating five years since its formation. This will be the only opportunity to obtain this book, so please double-check the application guidelines on page 144 before sending in an application. Shipping is planned to take place in September, which is also the anniversary of the band’s public reveal. Please look forward to it, as you think back on the history they’ve walked through as five!!
[Note: I would love to translate this book, but I’ve had no luck in tracking down a copy. If you have any information that could help me out, I’d be eternally grateful!]
Notes:
1. Promise is the official translated title. The original is Yakusoku (約束)
2. The section headers are German words. “Zuerst” means “First”, “Zweite” means “Second”, and “Dritte” means “Third”
3. Our Path is the official translated title. The original is Kiseki (軌跡)
4. There is not currently an official translation of the song title Ameagari no Yume (雨上がりの夢). I’ve opted to call it The Dream after the Rain Clears
5. A sunny woman (hare-onna/晴れ女) is a Japanese phrase that refers to a woman who brings good weather wherever she goes
6. “Weg in die Zukunft” is German for “Path to the Future”
Rosenland 