ASIAN KUNG-FU GENERATION Unveils 'Fujieda EP' and Discusses Creative Process

Japan's ASIAN KUNG-FU GENERATION recently dropped Fujieda EP and the new single “Skins” in quick succession. The four-track EP, recorded entirely at MUSIC inn Fujieda, a residential recording studio housed within a 130-year-old renovated storehouse, showcases a diverse range of textures and the quality of the Shizuoka facility.

"Skins" serves as the opening theme for the TV anime Dr. STONE: SCIENCE FUTURE Season 3. The song captures the essence of an era marked by shifting values, forging a shared sensibility that transcends conflict and division. Billboard Japan engaged in a conversation with all four members, delving into the creation of Fujieda EP, the underlying message of “Skins,” and their excitement as they approach their 30th anniversary overseas performances and Ariake Arena concert.
ASIAN KUNG-FU GENERATION

The recording of Fujieda EP took place entirely at MUSIC inn Fujieda. Could you elaborate on the origins of this studio?

Masafumi Gotoh (frontman, guitar): Studio costs in Tokyo, especially the urban center, can be exorbitant for young musicians. Some studios are both expensive and cramped, creating a challenging environment. I wanted to establish a more accessible space where musicians could dedicate ample time to their craft. That vision led to the creation of MUSIC inn Fujieda. We relied on crowdfunding and extensive support to complete it. Before fully launching the studio, we needed to conduct test recordings, and I invited the other members of ASIAN KUNG-FU GENERATION to participate.

What was your experience like using the studio?

Kensuke Kita (guitar, vocals): I had seen photos, but experiencing the studio firsthand, I was struck by how comprehensively it had come together as a fully functional studio, exceeding my expectations. While not massive, the high ceilings create a sense of spaciousness. We were able to record the same songs under identical conditions, allowing for valuable comparisons. The drum sound was particularly impressive, reflecting the deliberate design of the space. The attention to detail truly shines through in the audio.

Kiyoshi Ijichi (drums): The mere existence of a storehouse like this in Fujieda is remarkable. Renovating it must have been more expensive than demolishing and rebuilding. We once recorded at RAK Studios in London, a place with decades of history. Europe values preserving old buildings, sometimes even mandating renovation over demolition. This fosters a cohesive beauty within neighborhoods, something I've always admired. Japan's earthquakes often necessitate rebuilding, making this project even more exceptional and moving.

Takahiro Yamada (bass, vocals): The materials used were also exceptional, including reclaimed wood from disaster sites and original storehouse floorboards repurposed as wall paneling. (The floor features Noto hiba cypress, and the walls incorporate salvaged timber rescued from areas affected by the Noto earthquake.) The staff were welcoming and full of character, creating a comfortable environment. I'm genuinely grateful for the opportunity to be among the first to use it.

Your new single “Skins” was released in April as the opening theme for Dr. STONE: SCIENCE FUTURE Season 3. How did you approach reflecting the series' world in the song?

Gotoh: This song was written some time ago, after we released “Life is Beautiful.” I felt compelled to write anti-war songs, questioning how to counter the prevailing trends. Simply opposing war felt insufficient. I realized that perhaps we all need to shed our burdens. Stripping everything away leaves us with our bare bodies, our "skin." That's where the title “Skins” originated.

Dr. STONE tells the story of humanity's rebirth after petrification, an epic tale with a critique of the modern world. I felt a resonance between the two. Rather than creating something entirely new, it was about finding the overlap between an existing song and a fictional work.

Your recent lyrics seem to convey strong messages about connecting through music, transcending conflict and division. After the recent lower house election, you mentioned the studio and said something along the lines of “it doesn’t matter what party anyone supports.” What are your current thoughts on that?

Gotoh: The world is clearly full of differing viewpoints. Even with a shared language, people divide themselves over beliefs. This has been a constant throughout history.

That’s true.

Gotoh: I don't believe music exists to emphasize these differences. I believe music's power lies in demonstrating that people with nothing in common can share a feeling, moving to the same sound or beat, experiencing a sense of unity. Music shouldn't be divisive.

Music saved me because it never restricted my listening. While some communities might feel exclusionary, I don't recall ever being turned away. Expression, at its core, should be open to all.

Absolutely.

Gotoh: I want to continue creating such works, incorporating thoughts we need to consider. But fundamentally, music should provide a space for everyone to feel accepted.

I also wanted to ask about opening for Oasis. What was that experience like?

Gotoh: Tokyo Dome is enormous. It was our first time playing a dome as ASIAN KUNG-FU GENERATION. The last time I was there was 30 years ago to watch a Nippon-Ham versus Orix game to see Ichiro. Performing at Tokyo Dome was never something I imagined. I expected poor sound quality, [Laughs] but it was actually good. I noticed it again at the Oasis show—things have improved greatly. Speaker systems have caught up with the venues.

I was genuinely nervous on that stage. It all happened quickly. But after 30 years as a band, we couldn't afford to perform poorly. Fifty minutes would have been tough, but 30 minutes? We could handle that. Still, my mouth was completely dry afterward. Whether it was the air pressure, nerves, or adrenaline, I'd have to do it again to know. [Laughs]

Yamada: I was nervous, but the crowd was warm, and we got through it feeling good. The feedback was positive, so hopefully some attendees came to the Ariake Arena show in April (the 30th Anniversary Special Concert “Thirty Revolutions”). That would mean a lot.

Gotoh: The best beer I had last year was right after we came off stage, standing in front of the first-base dugout.

Kita: You had such a great look on your face.

Ijichi: Before we went out, Gotch (Gotoh) hugged all of us for the first time ever. I was a little moved by that. We’d opened for Oasis once before in Nagoya (SUMMER SONIC EVE in 2005 at the Nagoya Port Open-Air Park). That was a pretty rough crowd. [Laughs] We could feel the energy of “just bring out Oasis already” while we were playing, so I figured this one would be similarly unwelcoming and stepped onto the stage with that expectation.

Then the moment I hit the first beat of the drum intro, I thought, “Huh?” There was this huge cheer. And from there, people were singing along. I was like, “They actually know our songs!” I don’t know whether Oasis fans had come to know us over the years since Nagoya, or whether people who already knew us were just big Oasis fans too, but feeling like we were genuinely sharing a bill as equals made me really happy.

This year, you’ll be celebrating your 30th anniversary in Indonesia, Mexico, Chile, and Peru, along with the upcoming arena concert in Japan. To close, could each of you share a thought about what’s ahead and a message for readers?

Gotoh: The fans in Japan are incredibly important, but we also have listeners worldwide, which drives us. If people are calling us there, I want to go everywhere we can while we still can. And I want to make music and put on shows that are worthy of that feeling.

Kita: The fact that we’ve kept this band going for 30 years is because there are people who keep showing up, and I’m truly grateful. I want to give them a show they’ll be glad they came to.

Ijichi: I want to play a range of songs, old and new, and really do them right. There will be people coming who are new to us, and people who have been with us for years, and I’d love for both groups to leave happy. When you’ve been at it for 30 years, you have an enormous number of songs, and narrowing it down to around 20-something is its own challenge. But I want to pick and play the ones that feel right for who we are now.

Yamada: I’m always aware that there are people out there waiting for us. Whether it’s the overseas shows or anything else, I want to live up to that expectation, and I’m going to think carefully about how to do that and play with everything I have.

—This interview by Takanori Kuroda first appeared on Billboard Japan

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