Hotei-san thought, 'This person can probably get girls' (laughs).

—Who do you respect?

I respect people close to me. So, I truly think Professor (Ryuichi Sakamoto) and Keigo Oyamada are amazing. I'm happy to be on friendly terms with them.

—You've also participated as a drummer for various artists. What's your most memorable experience?

One is the live performance at Pacifico Yokohama with Quruli's orchestra. Another is the live performance at Todai-ji Temple with Tomoyasu Hotei. These two stand out in recent years. With Cornelius, I've been involved for so long that it feels less like a shock and more like a steady, gradual ascent.

—What was your impression during the Quruli performance?

At that time, I was definitely playing differently than usual. As a drummer, I usually want to be at the bottom, holding things down firmly. But on that occasion, it was best to play in a way that created flow, riding on top of the string players. I really enjoyed doing that. Especially during the encore, we all reached a point where I wished we could stay in that feeling forever, which was wonderful.

—What was memorable about your time with Hotei-san?

Hotei-san is such a guitarist. The rehearsal started with a session. Normally, you'd play the songs from the demo tape, but this time it began with a jam session, not song practice. That was great.
We spent the first day or two of rehearsal just communicating with everyone—that was cool. While the overall framework was solid, he sought the best possible performance from the members present. That kind of approach is cool. I thought, 'This person can probably get girls' (laughs). I felt the same way about Professor Sakamoto.
Another experience was performing with Yoko Ono. The moment Yoko-san came on stage, she took all the attention (laughs). Before that, various people had been singing, but ultimately, it became Yoko Ono's live performance.
At that time, Sean (Lennon) was the bandleader, and the backing band was Cornelius's group. Yoko-san's rehearsal was only five minutes the day before, and she just looked and said, 'It's fine, let's go with this, please.' She left, saying the performance would have its own momentum.

—Overseas bands don't rehearse much, do they?

They often play on the edge (laughs). So, when I go to New York and we do live sessions together, it's truly improvisation. I'm someone who really likes to rehearse, but for them, if they do it in rehearsal, it's like the actual performance (laughs).

I'd like to be able to play drums like a blend of Yukihiro Takahashi and Ringo Starr.

—You've traveled to Europe and America for performances. Did you notice any differences?

There isn't a huge difference between Europe and America. If anything, there's a significant divide between Japan and other countries. To be more specific, Melbourne in Australia is a bit like Tokyo, and Amsterdam can feel a bit too free (laughs), but generally, I think they're similar. Japan feels distinct.

—If you weren't a drummer, what do you think you'd be?

I might not be able to make a living from it, but I'd want to be a beauty journalist (laughs).
I'd write columns about cosmetics. I really love cosmetics, and since I have sensitive skin, I try and research products that suit me, even making my own lotions. I just love it.

—What are your goals, Araki-san?

When I die, I hope to be surrounded by many people, all smiling and saying 'thank you' to each other, and to pass away in that moment. This is what I'm working towards now. I might die before reaching that point, but that's my ultimate goal. 'Wow, I'm so glad I was born!' and everyone, crying and laughing, saying 'Thank you, see you in the next life!' (laughs).
As a drummer, I'd like to be able to play drums like a blend of Yukihiro Takahashi and Ringo Starr. Takahashi-san's drumming is incredible, and I'm working hard to play even a little bit like him. Hirohisa Horie, who was with Takahashi-san in 'pupa,' often says, 'My sound is louder than Araki-san's.' But I really like the sense of style that comes through, making the volume feel effortless, and I think that's very cool.

—A message for our readers?

This album is imbued with a power that will ultimately make you feel good.
I've written the lyrics with the intention that they would be suitable to play for pregnant women, babies, and children, so please give it a listen!

—Thank you very much.

mi-gu from Yuko Araki
http://www.office-augusta.com/araki/


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