9GOATS BLACK OUT Final “Silence” + Messages [日本語あり]
Page 1 – Live Report
Over the course of approximately five years, 9GOATS BLACK OUT focused on realizing the importance of life and death, and through it, the value of the simple things in life. Their final concert expressed this through a total of 35 songs.
From the first song “sink” from their first mini album to the very last song “8 seconds –eternity-” from the final album Calling, the three and a half hours of the live seemed to portray the life and death of the band itself. The stage seemed like a canvas of light and shadow and surrealistic images, which gave the final stroke of color to their five years.
The lights in the sold out Akasaka BLITZ dimmed at 6:15 and the music “in nirvana” enveloped the venue as the members appeared to a chorus of voices screaming out their names. With manipulator akaya—one of the band’s former support members—as the special guest of the day, the live started with the above-mentioned “sink.”
The screen on the back wall projected the song’s music video with red light glowing down on vocalist ryo. He blew life into the number, reviving that dark, soothing atmosphere reminiscent of the band’s start. They continued with another classic, “Yasou.” The mysterious melody was accompanied by a palette of swirling lights that showered the stage. Then, an array of torches shot fire into the air, which wavered along to ryo’s chant for “red shoes.” The slow, ritualistic chant was soon devoured by the fiery “BABEL” as the packed crowd pumped their fists in the air. Colorful lights danced to the racing instruments, ryo’s voice changing alternately from a clean tone to a growl, countless heads thrashing to the music.
Bathed in darkness, ryo welcomed the crowd with a brief emcee before resuming with “you” and Takumi seized upon the silence with the first strike of the drums. Mellow, yet with a wistful tone, the song was delivered with surreal images of a woman in the sky and a man immersed in fire. Then, in the sensuous “BLANK BLACK,” smoke shot out from both sides of the stage, lights showering from every angle in an ever-changing a myriad of colors. The lights created shadows of the members on the screen behind while the transition to the careening melody induced headbanging which continued through to the blood curdling “Lestat.” The alluring whispers and repetition of the winding guitar line escalated, driving the audience to a dizzying display of heated headbanging.
Melancholy in nature, “Canaria” was dramatically presented with psychedelic images onscreen while in “Yuutsu to kodoku,” uta and hati gave a good chase with their instruments in contrast to ryo’s gestures, abiding by the wistful melody. He dropped to the floor as if despair had fallen upon him and continued gesturing thusly through “missing.” The chorus and the song’s swinging melody brought on a dismal cry before the following “raw” grew eerie with red and blue lights that flooded the stage. ryo’s shadow was impressively embedded on the screen, overpowering a projection of fire. Gradually, the pace picked up in “Yurikago” with uta delivering a passionate strum of Spanish influenced guitar that incited waves of flamenco-style hand claps.
“Those gone, those distant… Though we may never meet again, let this song reach to them: ‘Heaven.’” Smoke crept silently along the floor and as the mist gradually piled up around the members’ feet, they appeared to be floating on the clouds of heaven.
From that beautiful scenery, the lights dimmed as akaya began the intro for the instrumental, “lithium.” Gradually, the melody became layered with drum, bass and guitar, soon to dive into “Tsuioku wa tsumi,” a somber atmosphere taking over. However, as the song escalated in volume, fists began to pump the air, growing stronger into “Shut up “G”.” Smoke effects shot in from the sides and the scream of the guitar kicked off a striking start as heads began to thrash once more. Roaring to the heavy music, uta made the stage his own as he swept away the crowd with his wild guitar. “Table of the Moral Sins” followed, addictive and seductive, with fans pumping fists to the rhythm of the drums and swaying to the dizzying sound effects which pulled all into the electronic whirlpool.
As blue lights descended upon the stage, “ROMEO” took off with the vocalist’s sinister voice resounding rhythmically through the venue, his graceful motions at times directed to the members as if pleading with them. Then, “SALOME” came in, erotic and dangerously devilish, bringing sensual whispers that turned into a fiendish growl. It was followed by “Asche.” The title represented the German version of Cinderella and the dramatic vision on screen projected this story, abruptly changing to an intensely rotating globe as the piece hit the main melody. In the dark, a streak of light cast on ryo as “any” began another story. The song emphasized the vocals which were delivered in a strong, heartfelt tone.
“We have always put life and death as the main themes in our work. Because we feel both, always among us, we realize the value of the simple things in life. However, for those who are still unable to release themselves from winding misery, it may seem like a long road. As rain will soon end and the sunshine cast a rainbow in the sky, good things will come along. Expecting this, we deliver this next song to you. Putting up an umbrella under the pouring rain: ‘rip current.’”
The venue lit up, revealing the floor, the stage, and the members’ faces. The band gazed at the audience with warm smiles, the upbeat music creating an uplifting atmosphere despite a few technical troubles. “Negai” blew such worries away, the gentle breeze of the harmonious vocals and beautiful guitar arpeggios developing into a grand melody that swept across the venue in a courageous close to the main set.
The first encore came with a ballad. “We’d like to do a good old song today, with the five of us onstage: Den lille Havfrue.” akaya brought on a peaceful melody that reminded of the early days of the band, after which ryo resumed his address. “As I mentioned earlier, our works always has been based on the view of life and death and when we just started the band and were thinking of a concept, we felt that the world’s view of life and death was undervalued. Personally, my father’s death made me rethink what death is. However, now, after 3.11 and other disasters that followed, the view of life and death became a closer issue. Because these things don’t happen often among us, when death comes or when we feel the end of something, we realize that we need to value even the smallest things in life. These words, these songs, are the memento of those feelings and the next song is one of them: ‘TANATOS.’”
The melody of “TANATOS” slowly drifted across the crimson-washed venue. Flowers bloomed and withered repeatedly on the screen, reminding of ryo’s talk while the lights below the stage made a silhouette of uta as he gave a magnificent guitar solo. “Panta rhei“ came in gently, its message also reflecting the earlier words and the slow ballad flowed peacefully throughout the serene venue.
“Everybody alright? Tired?” ryo asked. “Since we’ve been only talking about serious issues, people who have come to see us for the first time might think, ‘How depressing,’” he said jokingly. “There are not only life and death in this world but also other things such as, love, tragedy, farewells, new encounters, and inconsistencies. Luckily, I have all of you and this is so difficult for me to say out loud but from my heart, I thank all of you, and am fortunate to have met you all. Thank you very much.” Applause rose at once, breaking the stifling silence before ryo spoke again. “Even though tomorrow may be blinded by fear, we can always hope for tomorrow. We may never know how our lives will meet in the future but when you have a sleepless night, may this song become hope for you: ‘Sleeping Beauty.’”
Green lights cast down on the stage as this ballad from the band’s beginnings flourished amazingly in the venue. The beautifully woven instruments and voice escalated to the main melody and from the ceiling, hundreds of hearts fluttered down to the floor. The breathtaking moment went past quickly and with applause from the audience, the atmosphere changed completely as ryo shouted, “Today is 9GOATS BLACK OUT’s last live. Are you all ready to go crazy!?” A frenzy took over for “HARMS,” both uta and hati shouting their lungs out to fuel the audience up for more fist pumping. Another savage number followed with “Who’s the MAD,” smoke shooting out from the stage to further aggravate the heated atmosphere.
Before the second encore, takumi and akaya entertained the crowd with some fun talk with the tour goods and after a while, uta and hati returned. With a mighty shout, uta said, “Thank you very much for coming today. I am fortunate to see everybody here at this venue. There are only a few songs left but let it all out, everyone!” Followed commented hati, who began to grow emotional. “Today is the last day for 9GOATS. Are you all about to cry? Please do! …Just joking. For those here today, for the people who weren’t able to come, and to all the people who supported us these last five years: Thank you very much. I am proud and happy I have met you all. Please let our music live on in glory in you. Once again, thank you.”
Last but not least, ryo came back onstage to say, “The songs will remain. The CDs, interviews and goods that we have delivered with all our hearts will all remain. Our bond will not fade as long as we remember that we lived in the same time and breathed the same air. In a way, today may be the last, but you never know! Let’s go home happy tonight! Are you guys ready?”
Answering in “dye an unease,” the audience thrashed their heads violently to the fast paced music. “Let us hear your hearts beat!” ryo cried, initiating a section of fun music with fierce headbanging and jumping fuelled by addictive rhythms. In “headache,” special guest akaya revived S.A.T (Super Akaya Time) and had the audience laughing till they cried. The venue erupted into applause.
“Thank you.” Deeply moved, ryo put his hand to his chest. “Thank you for staying here with us till the end. For every person who supported us through the five years of our activities in different times and in different ways—even the people who are not here today—we would like to take this moment to say ‘Thank you.’ I am happy we had this time together and are feeling the same emotions as well. Love, death, meeting, dreams, farewells, hope; all of this is in this next song. Please listen, ‘Kanbi na shigai.’”
The spirited song brought tears and the members were no exception but soon, bright lights blanketed the venue and silver tape exploded in the air for the grand finale, “8 seconds-eternity-.” Halfway through the uplifting melody, ryo put down the mic and handed over the vocals to the hundreds of voices of the audience to resound the refrain. In the end, the lights grew brighter than ever with the band and audience both singing together for the final burst as 9GOATS BLACK OUT put the final touch to their five year run.
When the venue darkened, an end roll of 9GOATS BLACK OUT’s history, including past lives and final comments, played to background music of an unreleased track, “Nuit Blanche de L’auror.” Although 9GOATS BLACK OUT may be gone, their words and their work will live on in the hearts of many who have supported them. Fans still have one final treat to look forward to with the live DVD and a best of album scheduled during 2013.
(Continue on to Page 2 for messages from the band.)
- Opening: [in nirvana]
- Yasou -nocturne –
- red shoes
- BLANK BLACK
- Yuutsu to kodoku
- Tsuioku wa tsumi
- Shut up “G”
- Table of the Mortal Sins
- rip current
- Den lille Havfrue
- Panta rhei
- Sleeping Beauty
- Who’s the MAD
- dye an unease
- Kanbi na shigai
- ８seconds -eternity-