CA4LA MUSIC CONNECTION vol.1
the chef cooks me | Ryosuke Shimomura
The turning point leading up to the completion of the album "Feeling"
For artists, there is always a turning point in the process of creating works and the source of their activities.
"CA4LA MUSIC CONNECTION" is a serial feature in which artists are interviewed about turning points in their careers.
The first artist to appear is Ryosuke Shimomura from the chef cooks me.
In October of last year, they released their first full album in six years, "Feeling," and recently released COLLABORATION items with CA4LA. We spoke to Shimoryo of the chef cooks me about the reactions to the new album's release, his work, and his commitment to the collaboration items with CA4LA. We also asked him about the turning point in the production of "Feeling," an album that has been highly praised as a masterpiece among the works released in the second half of 2019.
Text by CA4LA
Photo by Tetsuya Yamakawa [Showcase]
Interview：the chef cooks me
"The essence of this album is to have many different people listen to it and ruminate on it, and spread it."
First of all, congratulations on the release of your new album, "Feeling," your first in six years.
Shimomura Ryosuke (hereinafter referred to as Shimoryo): Thank you.
It's been three months since you released your album "Feeling."How do you feel after the release?
Shimoryo: This album took me more than a year to complete, and before I released it, I thought of it as something that belonged to me, or something that was for me, but once I released it and it was available to an unspecified number of people, that feeling changed, and after it was released, I started to think of it as something that belonged to someone who was listening to it. It was the same with my previous releases.
Three months have passed, and now I'm able to get a sense of how the album "Feeling", its songs, lyrics and sound are resonating, being conveyed and being felt.We live in a convenient age where if I search on social media I can find people writing about it, and at the end of the year it was chosen as something like"The Best of 2019."
Nowadays, even if a new release is made, it is sold out in record stores after about two weeks, and new works are released one after another, and new music, both Japanese and foreign, is released every Wednesday and Friday on subscription services... Of course, I think that this cycle is created because so much music is being created. So, I honestly thought about what meaning it would have in releasing a new album in CD format at such a time.
But I think that having people listen to it over time is a very positive thing. Of course, it would be the smoothest and happiest thing if it became known right away, the number of plays increased quickly, live venues filled up, and I was invited to various places... but I think that having a lot of people listen to it properly while ruminating on it and spreading it is what makes this album "its own". In that sense, I've been able to steadily feel more and more things after three months, so I'm glad that I was able to release it in this way.
This time, as a new experiment, the first press edition will be released with a digital jacket. What has been the reaction to this format, and how do you feel about making it?
Regarding the Shimoryo digital jacket, to be honest, I still don't know how people feel about it. We sell the regular version with the jacket at the live venue, and some people buy it because they wanted it, and I think there are a lot of people who don't even listen to the album on CD in the first place. We tried it out, but we still can't judge how people who actually pick it up feel about it.
I see.
Shimoryo : However, the digital jacket site "Feeling" has the potential to continue in perpetuity, so I'm thinking about creating new content on it. Right now, I have something like a blog called "Feeling," and I'd like to think about the content of projects that could branch out from there.
For me, I think this year is the year to spread the "Feeling".
I think we will continue to make use of it as a medium.
We were also able to announce the hats with Shimoryo CA4LA early on in the digital booklet's "Feeling" content.
There are a lot of guest musicians in this work "The Chef Cooks Me". Co-writing and featuring are on the rise overseas, so I think there are more opportunities to check the credits.
Although it's easier to find information than it used to be, there are still cases where the information is scarce or inaccurate, soI think that making it easy to access each piece of information from the link on the digital jacket is an attempt to enrich the music experience for fans ofThe Chef Cooks Me and listeners who became interested in this album. I hope other artists will adopt this approach.
I'm happy to hear Shimoryo 's voice. I think there are many music lovers out there, and I'm sure there are some who have no interest in credits at all, but if they can look at the credits on the digital album jacket and find more music they like, that would be a dream come true, and I would be very grateful.
"Because I'd been working with the song for a long time, I was able to relax and just let myself go with the flow and naturally decide that I wanted to ask this person to do it, which was great."
Regarding working with guest musicians, how did you choose who to ask? Was it simply asking people who wanted to work with you?
Shimoryo: There are cases where it's decided from the beginning of the production that I want to ask a certain person to work on the entire project, and there are also cases where I want a certain person to work on a certain song.
For example, Ibuki Fumihiro plays all the drums, and since we first met him he has supported us at live shows and played on new songs, so we've built a relationship with him through each step and story, so we wanted to leave it all to him.
Bassist Shige Murata has been supporting us at our live shows for a long time, and Michihiko Nakanishi from Yasei Collective, who still supports us today.
The same goes for Hiroko Sebu. Naturally, only she can play Sebu's piano.
Certainly, "Feeling," which features Sebu-san, is a key point on the album. It's a very lively introduction to the final song.
I think it's the perfect song to introduce "Hit Love with Your Heels," the last song on Shimoryo's album.
I also felt that the flow from "Feeling" to the last song created a rhythm that led to a repeat at the beginning of the album.
Shimoryo: This time, the impression changes greatly depending on which song you listen to first. I made a playlist called Feeling (Naked) on Spotify, and I think that I can enjoy it no matter where I start listening to it these days.
This time, there were cases where I decided on a certain person from the beginning to ask them to work on the entire piece, and cases where I decided on the person to ask based on the image of the song.
The production process had its ups and downs.
Shimoryo: That's right. It was like that all the way through to the final mastering.
"There are a lot of textures and temperatures that I could never have achieved on my own."
I would also like to ask about the artwork. I felt that the abstract photographs really fit the title "Feeling".Each song was accompanied by a photograph, but how did you communicate with the photographer regarding the production?
The person who took the photos of Shimoryo was Yamakawa Tetsuya, who I've known for over 10 years. This is the third album I've made with Yamakawa's photos, and I've already released "Kyōtai" and the EP"RGB and the Center", as well as the digital-only single "Now's the time", but this time, before he listened to all the songs, I told him in advance that I wanted to use a lot of photos. I told him the title and melody, and after he listened to the music, I asked him not to specify any image for the photos. I told him that I would leave it up to Yamakawa's sensibility to decide what would be good. I made such an unreasonable request, and he chose from the photos that were submitted.
I mentioned earlier that a variety of musicians are participating in the project, but in the recording studio, I wanted to bring out as much of the best in each of them as I know them, so I wanted them to play as freely as possible and produce good takes, and I wanted them to be involved in the project and go home feeling like, "Ah, I get it," so I was focused on that.
In that sense, I'm in a producer-like position, but the film is packed with touches and warmth that I never would have been able to produce on my own.
I consider that a treasure.
When it comes to my own music works, from start to finish, I have always been particular about the jackets and artwork, and it's the same with jackets. When someone's sensibilities clash, it can become very distorted, complicated, and a little hard to understand, but because it is something created by a human being, I still believe that there will always be someone who looks at it and finds a different answer, a hint, or a trigger.
So maybe there isn't any uniformity. But on the other hand, it's like a miniature version of the world, with all kinds of people living together and no doubt things don't always go as planned, but I think that the parts that don't mix well together are what make it real and beautiful.
With Yamakawa-kun's sensibility now in the mix, I was able to reach places I had never known before, and experience the song from an angle I had never thought of. After all, vision is very important.
I agree.
Shimoryo: I discovered things like that too, and I think the people who listen to it are probably looking at the album from a different perspective than us and Yamakawa, who took the photos.
When it came to creating the artwork, it was done in a similar way to asking musicians to do it.
Shimoryo: It's exactly the same. To put it in very rough terms, it's just a throw away. (Laughs) Of course, it's with trust and respect.
The same goes for the album designer, as I asked him to select the photos based on his own sensibilities.
The sensibilities, or "feelings" of many different people are all packed together to create one piece of work.
Shimoryo: That's right. It feels like my album, but there are parts that I can't quite call my album. It feels like we all made it together.
Sudden deafness and "Now's the time" were the starting points for Feeling
Now that "Feeling" is complete, can you look back on the production process and tell us what was the turning point for you?
Shimoryo: This year marks the 17th year since we started working as the chef cooks me. There were originally five band members, but we've had our ups and downs, and in the end I'm the only one still working, so there are so many turning points, or crossroads, and choices that have brought me to where I am today.
But the beginning of this album, or the beginning of the whole story, was when I suffered sudden deafness in my left ear in October 2017 and lost my hearing, and looking back, I think that was probably the starting point.
At that time, I was already planning to quit being a player or singer. If I lost my hearing, I wouldn't be able to work, and even if I was supporting ASIAN KUNG-FU GENERATION, I wouldn't know the pitch, so I thought that if I was in the opposite position, I probably wouldn't ask them to do it.
Shimoryo 's original guitarist, Sato, was no longer able to collaborate with us midway through the project, so we were forced to change our strategy and go back to a more basic level.
After we'd finished the bass, drums, and piano, Sato decided to leave, so we had a lot of time to work on the song, replacing the guitar parts that were supposed to be there with synthesizers.
That's why I think it was great that I was able to take my time and just go with my instincts and ask this person for help.
But thankfully, my hearing in my ears almost completely returned within 2 to 3 weeks.
I missed my first live performance and caused a lot of trouble to a lot of people, but in the midst of all that, ASIAN KUNG-FU GENERATION pulled me out onto the stage again. I think there had been a lot of talk between the agency and the members, but they just asked me, "Can you do it?"
At the time, I wondered if he was sane.
But I think that that is actually the greatest kindness.
Goto-san and the other members all felt that we had to stand there and do it again.
If I hadn't had that opportunity, I might not have thought about making music, and it was through that experience that the song "Now's the time" was born.
the chef cooks me - Now's is the time (New Feeling)
（難聴に）なって、回復した後、自分の耳が聞こえなくなったらどうしようと考えることや、何の仕事をしようとか、じゃあそもそも耳が聞こえない方達にとって音楽って何だろう。詩には目を通せるけど、音が聞こえてこないってどういうことなんだろうっていうところまで考えたら、その上で音楽を作り、奏でることができるのならば、自分に対しても、音楽に対しても強くメッセージを持ちたい。今までは誰かの為に、誰かに聞いてもらって誰かのものになってもらえるように、ということを少なからず考えていたけれど、「Now’s the time」は自分に対して実直に書こうと思えて。
突発性難聴がなければきっと「Now’s the time」はできなかったし、
「Now’s the time」がなければ、その後は続いていかなかったと思うし、
それがなければ佐藤が離れることになった時に、the chef cooks meとして続ける意味を見失ってしまっていたかもしれない。
自分に真摯に向き合った結果、「Now’s the time」が生まれたと。
シモリョー 自分に対して嘘なく書いていないと、聴いている人には響かないと思ったんです、その時。自分に忠実であることってすごく大事だと思いました。
自分に向けているはずの曲である「Now’s the time」は、逆にリスナーに寄り添う楽曲になっているように感じました。
シモリョー 僕も1億4千万分の1で、世界でいったら70億分の1で、別になんら変わりないスペシャルでもなんでもない。みんなそれぞれが独立して存在していて、命の価値は等しくあると思っているので、そういう意味での「We」は、みんな一緒だし、でもみんな違うし、みんな孤独だし、みたいな。多分、自分に向き合わないとあれは書けなかったです。
the chef cooks meの音楽はひとりひとりにもの凄く寄り添ってくれるような印象があります。私もすごく力をもらうことがたくさんあります。
シモリョー それはとても嬉しいです。
時間とともに、より響いて広がっていくような気がします。
シモリョー そうですね。分かりやすいか分かりにくいかでいったら分かりやすくはないと思う。でも決して分かりにくくもない、みたいなグレーゾーンに自分の音楽は存在していると思うので。
そういう意味では簡単ではないし、受け取る側からするとなかなか手が届きにくいところにあるかもしれない。でも僕も未だに聴いて元気をもらったりしているので、人によってはちゃんと聴いて自らのものにしてもらえれば強烈な味方でいてくれるアルバムだと思っています。
「愛を持って被ってもらえたら、誰にでもハマるようにコーディネイトできるという帽子を自分なりに目指しました」
今回CA4LAとコラボレーションして帽子を製作いたしました。その製作過程の中でこだわった部分はどんなところでしょう。
シモリョー ぼんやり「Feeling」のアルバムのロゴを使いたいっていうことと、ジャケットの写真がすごく好きなので、写真を使いたいということだけ決まっている状態でご相談させてもらいました。ゴッチさんのonly in dreamsのレーベルキャップの時にも、一度自分がパイプ役になって作って頂いているので、製作に関してなんとなくの流れを自分の中では把握した上で、紐付いたキャップを作りたいと相談させて頂いた時に「何でもできますよ」と言ってくださって。
そうでしたね。
シモリョー 自分の願望を叶えて頂く用意はしてもらっていたので、じゃあどこを終着点にさせるかというところで少し悩みました。ジャケットを総柄にするアイディアもあったけど、季節を選ぶかもしれないし、どうしても他の服に対してのコーディネイトが難しいかもしれない。
今回のアルバムの曲はどんな状況でも聴き手が、想像力でもって自分の中に取り込んでくれればどんな時でも近くに存在してくれる。人の感情次第で形を変える楽曲だなって思っているので、そんな帽子にしたいというのがありました。
あまり浮きすぎず、そこまで主張しないんだけども、実はディティールに目を配ると、こだわっているという。
少し愛を持って被ってもらえたら、誰にでもハマるようにコーディネイトできるという帽子を自分なりに目指しました。
細かくご相談にのって頂きましたし、マネージャーやデザイナーの方も交えてごくごくポジティブに作らせてもらえました。
完成した帽子はどうでしたか。
シモリョー 見ての通りの今かぶってます。(笑)
どんなシチュエーションでもかぶっていけるので、ものすごく気に入っています。the chef cooks meのことを知らない人にも、おそらくCA4LAの店舗に置いてもらったときに「あ、いいな」って思ってもらえるんじゃないかなっていうのも合わせて目指していたので、そこで音楽を聴いてなくても、かぶってもらえたら最高に嬉しいなって思っています。それぐらいのモノができたような気がしています。
「帽子屋さんとしてしっかり愛を持って帽子を作って販売しているっていう。シンプルだけどそれこそが信頼できる」
気に入って頂けたみたいで嬉しいです。プライベートでも結構被っていただいていますが、シモリョーさんにとってのなんかこうCA4LAの帽子の魅力と言うか。帽子っていうものの魅力みたいのってどういうとこに感じますか。
シモリョー 僕が初めてCA4LAの帽子を買ったのは、高校2年か3年で。まだコピーバンドをやっていた高校生ぐらいのときだったんですけど。
そのころだと原宿店ですか？
シモリョー 明治通りのお店でした。たまたま通りかかって、やっぱり原宿に来ることってその年代だと一つのステータスだったりするじゃないですか。
東京に住んでいたとしてもなんとなく気構えていく場所というか。
シモリョー ちょっと力むというか。(笑)そういう状態で、自分の中で一番これはイケてるぞっていう格好をして、明治通りを歩いているときに帽子がほしいと思っていたら、「あ、こんな店あるんだ」と思って入ったのがきっかけなんです。
僕の中ではいい意味でその時からずっとイメージが変わっていなくて。というのは、おそらくこんなにいっぱい日本に店舗を構えることが出来ているというのが全てだと思うんですけど、ちゃんと帽子を好きな人たちが、愛情を持ってしっかり作って、店を構えて売っているように思うんですよね。そんな帽子屋さんってなかなかないと思っていて、日本には。
結局音楽もそこは一緒で、音楽のことめちゃくちゃ好きじゃないと、いい音楽って絶対作れないし。
続かないと。
シモリョー 世に云うプロセスや、売れるヒット曲の法則みたいなものもあるのかもしれないけど、僕の中ではそれが面白いとか、的を得ていると思ったことは無いですし。
やっぱり好きな人たちがいろんな形で関わって、愛情を持ってして生まれたものがお店に並んでいるっていうのは見ていてわかる。ただ好きで、愛情を持って音楽をやっている者としての勘は、間違いないって信じています。
CA4LAのいいところって餅は餅屋じゃないですけど、帽子屋さんとしてしっかり愛を持って帽子を作って販売しているっていう。シンプルだけどそれこそが信頼できるし、だからこそお店に行くと気持ちが明るくなると言うか。そういう感じですかね。
ありがとうございます。餅は餅屋って素敵な表現ですね。
シモリョー 近年、バンドのグッズとしての帽子を、プリントや刺繍を業者さんにお願いして作ろうという話になったことはあったのですが、そのチョイスをしなかったのは、まさに餅は餅屋で、CA4LAで作ってもらいたいから、シェフ単独で作るのは我慢しようということになり、今回ようやくこういった形で結実出来ました。
そうだったんですね。コラボレーションして、こうやって形にできて嬉しいです。
シモリョー これがたくさんの人に届いたらいいですね。
きっと届くと信じています。
「縁で何か一つのことを実現できるっていうのは、めちゃめちゃいいなと思う」
最後に、今回コラボアイテムを販売するにあたって購入者特典としてMop of HeadのGeorgeさんリミックスの「Now’s the Time」のダウンロードカードが付きます。この音源についてひとこといただけますか。
シモリョー 帽子を作ってもらう上で、自分たちのお客さんに気に入ってもらえたらいいなってことはもちろん考えて作ってはいるんですけど、CA4LAのお店に置いて頂いたときに、もしかしたら、さっき話したみたいに帽子が欲しいなと思って、試しにかぶってみようと思ったら「the chef cooks meってなんぞや？」という感じで、よくよくで調べてみたら音楽やってる人達だった、っていう音楽との出会い方ってCA4LAこそじゃないですか。
お店に置いてもらってそこで音楽と出会える機会があったら、僕としてはすごくありがたいし、ひとつ面白い流れが、それこそカルチャーとしての可能性ではないかなって思って。
このアルバムをまるっと付けるのは難しいけど、リミックス音源ならば難しくないかなと。その中で僕とCA4LAの間で誰にリミックスを頼んだら一番面白いかなって考えた時に、双方と馴染みがあるMop of HeadのGeorgeくんがいて(※)、期せずして今自分のバンドのサポートメンバーを務めてくれているのもあり「じゃあ彼に頼まない手はないよね」となりお願いして、引き受けて頂きました。結局のところ、このインタビューも縁あってのことじゃないですか。
(※) Mop of HeadのGeorgeはCA4LAのモデルやイベントでDJを務める。
はい。
シモリョー 元々はたまたま知り合った相手で、何度も一緒に話をしてたりして、時が経ち、こういう形で帽子を作らせてもらえることになって、加えてGeorgeくんも双方の知り合いで「ああ、じゃあ何かやろう」っていうのは、それが必然のようだけどごく自然な表現体型だと改めて思っていて。
好きなミュージシャンにオファーさせてもらうことも、もちろん大事なことだとは思うけど、そういう縁で何か一つのことを実現できるっていうのは、めちゃめちゃいいなと思っていて。それにCA4LAもすごく音楽を大事にされているじゃないですか。
そうですね。音楽やカルチャーはとても重要だと思っていますし、大事にしています。
シモリョー やっぱりファッションとカルチャーはすごく密接だと思うし、そこも大事にしていてもらえるのは、ありがたくも、とても素敵なことだと思うので、音源を付けることにも是非やらせてもらいたいと思ったし、協力してくれたスタッフもいるし、それになによりthe chef cooks meのお客さんがCA4LAのお店に足を運んで他の帽子を見て回るっていうそのワンアクションがたまらなく嬉しいなと思っています。
そういう思いも込めた上でリミックス音源をご用意していただいてとても嬉しいです。
シモリョー リミックスに関してもアルバムを作ったプロセスと一緒で、Georgeくんのフィーリングが表現されているのであわせて楽しんでもらえたらいいなって思っています。
シモリョー 素敵ですよね。絶対に聴いてほしいです。
最新MV「CP」公開！
the chef cooks me - CP
the chef cooks me
Ryosuke Shimomura (Vocal, Keyboards, Programming, Songwriting, etc…)
Formed in 2003. A band by Shimoryo, also known as Shimomura Ryosuke, who also plays as a support member for ASIAN KUNG-FU GENERATION, Gotch (Goto Masafumi), Chatmonchy, and others. After several member changes, the band became a 10-member polyphonic band with support members on wind instruments, chorus, keyboards, etc., and in September 2013, released their third album, Kaitentai, produced by Goto Masafumi, from only in dreams. Kaitentai received a great response from all quarters and was highly praised as a milestone album, becoming a long-selling hit. With the album, they embarked on their first national tour in about five years, Kaitentai Tenkai tour2014, which ended with a performance at Tokyo Kinema Club to the cheers of their fans. After that, they released the 7-inch EP Hello Anthem at RECORD STORE DAY2014, and appeared at summer festivals around the country, and are always moving forward while making further lineup changes. In April 2016, he released the long-awaited "Kyoutai" on vinyl and held the "Return to the Focus Tour 2016" in Tokyo, Nagoya and Osaka. In Tokyo, he performed two shows in one day at the Mt. RAINIER HALL, his first hall. In October of the same year, he released a split single with Turntable Films, "Tidings One," which includes the new song "Latest World Heart and Heart Insin," which he says "definitely opened a new door inside me" (Shimoryo). In February 2018, he released a new song, "Now's the time," exclusively for download. Chef's new anthem, with a cool sound and a heartfelt message, is a work that makes you feel the anticipation for the upcoming album. On October 2nd, he released his long-awaited original album "Feeling," his first in about six years since his previous album "Kyoutai," through Kioon Music. The chef will hold eight performances at eight locations across the country, starting with Look in Chiba on Friday, March 27, 2020.
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LIVE INFORMATION
the chef cooks me Tour 2020 "Feeling"
March 27th (Friday) Chiba LOOK
START 18:30/OPEN 19:00
April 2nd (Thurs.) Kyoto UrBANGUILD
START 19:00/OPEN 19:30
April 4th (Sat) Kagoshima SR Hall
START 18:00/OPEN 18:30
April 5th (Sun) Fukuoka The Voodoo Lounge
START 17:30/OPEN 18:00
April 19th (Sun) Sapporo SOUND CRUE
START 17:30/OPEN 18:00
June 6th (Saturday) Sendai enn 3rd
START 18:00/OPEN 18:30
June 28th (Sun) Nagoya JAMMIN'
START 18:00/OPEN 18:30
July 4th (Sat) Tokyo, Uguisudani DANCE HALL New Century
START 17:30/OPEN 18:30
◆ First official advance booking now open!
Reception period: 1/27 (Mon) 12:00 ~ 2/4 (Tue) 23:59
Reception URL:https://w.pia.jp/s/thechefcooksme20of/
◆ General release
March 27th performance -April 19th performance: February 29th (Sat) 10:00
June 6th performance -July 4th performance: April 19th (Sun) 10:00
Ticket price: ￥3,500 (tax included /drinks not included)
Unknown Tokyo -5th.Anniversary-
February 21st (Friday) Shinjuku LOFT
Open 18:00 / Start 18:00
avengers in sci-fi / the chef cooks me / PC music club / gato / ravenknee / Taira Daisuke (DJ)
Tsuta Rock Festival 2020 supported by T-Point
March 21st (Friday) Makuhari Messe International Exhibition Halls 9, 10, 11
Open 9:00 / Start 11:00 / Close 21:30 (scheduled)
ASIAN KUNG-FU GENERATION / King Gnu / Gesu no Kiwami Otome. / sumika / the chef cooks me / Tempalay / 04 Limited Sazabys / PEDRO / MY FIRST STORY / Macaroni Enpitsu / and more
http://sorry.tsutaya.co.jp/m_mnt.html
ASIAN KUNG-FU GENERATION Tour 2020 Drunken 2 ~ The Song of Apple ~
June 9th (Tue) Zepp Tokyo
Open 18:00 / Start 18:45
ASIAN KUNG-FU GENERATION, the chef cooks me (Opening guest)
http://www.akglive.com/tour2020/
RELEASE INFORMATION
『Feeling』
2019.10.02（Wed）
the chef cooks me
KSCL-3179
\2,545 (+tax)
First edition: Digital booklet No booklet will be included with the CD, but purchasers will be able to view lyrics, credits, photos, and other content expressing the concept of the work on a dedicated website.
「Feeling」Linkfire
https://kmu.lnk.to/tIWZk
Radio regular information
InterFM897 「Just a Feeling」
Broadcast day and time: Every Saturday from 23:00 to 23:59
DJ: Ryosuke Shimomura (the chef cooks me)
