Indie mind, forever.

Yukiko Inoue, the editor-in-chief for nero, reveals the attitude of a creator.

Photo_Kisshomaru Shimamura (event)

Consistently maintaining the attitude of a music magazine, Nero has been highly acclaimed in both Japan and overseas, serving exceptionally beautiful editorials unlike the other music magazines. Yukiko Inoue, the editor-in-chief who also works as a music journalist, talks about the true essence of creations at the releasing party for its 10th issue.

I initially thought he was a boyish girl because his name was also written in Hiragana characters. Keiko Oyamada, 17 years old (laughs).

Congratulations on the release of nero vol.10 BOYS issue.

Thank you.

You have created 10 volumes in total almost all on your own. How do you reflect on that?

I don’t really feel like I actually made no less than 10 volumes. Indeed, I have a sense of achievement, but it feels more like challenging rather than enjoying during the production. It isn’t always fun even though you’re working with the artists you love.

Before asking about nero, could you tell us more about your background and how you came to start your own magazine? You have previously served as a member of Lollipop Sonic with Keigo Oyamada and Kenji Ozawa.

Many of my friends being in the bands at the time, I formed one for fun when I was in college. However, I was not good at playing instruments and I was rather interested in packaging something. I even shot my own album artwork before actually starting to make music (laughs).

I heard that you first saw Keigo Oyamada accidentally through a street snapshot on some magazine

I was in another band before Lollipop Sonic at the time but I wanted to find another vocalist who would be more perfect for the band. I tried to find one, standing at the entrance of universities and Harajuku station. And I was reading POPPYE one day and I saw Oyamada on the street snap page. He had a long hair and was wearing feminine clothes, I initially thought he was a boyish girl because his name was also written in Hiragana characters. Keiko Oyamada, 17 years old (laughs). (Keiko is a common name for girls) I tried to catch up with him asking my friends but it turned out there was no one around me who knew him at the time. Soon after I gave up,I found him again on Oliveabout half a year later with his name in kanji, “Keigo Oyamada, 18 years old”. That was the first time I realize he was actually a boy and tried to catch up with him again. I showed a picture of him to one of my band members and he turned out to be friends with him. So I made a phone call to his house —there were no cellphones at the time— and his mother answered, saying he was at his friend’s house. So I called a stranger’s house and asked Oyamada if he wanted to join my band. And funny thing is that he said “yes” even though he barely knew me. Soon after that, he came over to my place and officially joined my band.

If the photo was the only resource, you also didn’t know if he could play any instruments, did you?

No, I didn’t even know if he could sing (laughs). He told me that he had played drums in the band for some school events though. When I first met him in my house, he played my guitar very well. So, I offered him the positions of vocalist and guitarist (laughs). I suppose he wanted to play drums instead and didn’t even want to be a vocalist. Later, he introduced me Kenji Ozawa, his friend since primary school, after he finished the entrance exams for universities. They had these unisex styles with pretty looks, we had a lot of female fans. Even our first gig was full of audience.

From your story on how Oyamada joined the band, was your top priority visual rather than musical skills?

I didn’t mean that way but I believe appearances can explain it all. It’s not about if their faces looked good or bad —it’s about what they wear or put on. If you see what they choose to have, you can tell what kind of people they are. And their musical tastes also come with them. I wanted to know if we have mutual tastes overall. For example, YO-KING, the singer-songwriter I really love, also sang that you can judge people from what they look like. Oscar Wilde also referred to the similar kind of thoughts in his novel, The Picture of Dorian Gray. I honestly felt the same as they did. In token of that, Oyamada was very good at instruments. To tell the truth, we used to have a lot of arguments over music because we had very different tastes (laughs). I liked Devo and he liked the Smiths. Soon we naturally came to the point where we can understand each other and since then, things really worked out. But back then, he was like a rival to me.

There are immaculately pure emotion and perfect glow in the 1st album of Flipper’s Guitar.

The name of the band was changed into Flipper’s Guitar when signing with a record label, right?

I think the record label insisted on changing the name of the band, saying Lollipop Sonic would sound too indie. We didn’t bother changing the name, but Oyamada said that he wanted it to start with an “F”. He said the letter “F” would look good when you made a logo of the band. So, we were just constantly trying to come up with the names starting with “F”.

What was your role in Flipper’s Guitar?

I didn’t realize it back then but now I feel like I was more like a producer, I guess. I made all the artistic decisions for the band such as album artworks or artist photos. I also directed the live shows and parties.

You left the band soon after releasing the 1st album Three Cheers for Our Side. What does this album mean to you?

I can proudly say that this is my most favorite album of all music released in Japan. It is not because I was also a part of it but there are immaculately pure emotion and perfect glow within a single album. I believe they must have had to think more about public perceptions after the release of the 1st album. And people would prefer 2nd and 3rd ones because there are some parts played by the professionals. So, what feels more like band sound is definitely the first one.

Are there any bands in the current music scene in Japan that makes you feel the same way?

Sadly, I don’t come up with any. People nowadays are so smart that they avoid problems regarding creativity, and they can make something good without thoroughly thinking about it. This is just my opinion, there could be people with talents, or I just don’t know.

I’d like to have universal values in every single stuff I make.

Could you tell me how you started your career as a music journalist?

It would sound very immature but there was this person I really loved at the time (laughs). He was a musician who debuted as soon as my band did. And I was thinking how I could talk to him not as a fan and that’s how I became a journalist so I could interview him (laughs). My first ever interview was him so I achieved my goal as soon as I became a journalist. Actually, I didn’t have any hesitations about writing as I had an experience of making my original zines interviewing Ryuichi Sakamoto and I also had my own pages called “Indie Cat” in a techno music magazine. Rather, I was not good at playing music with instruments.

Writing about music for various magazines, you published the 1st issue of nero in 2010. What made you decide to start your own magazine?

Honestly, I didn’t intend to make my own magazine when I was starting. One of my friends living overseas asked me to make free newspaper to distribute in her area. Since she told me that I could do anything I wanted, I accepted her offer without deeply thinking about it. So, I first reached out to Yoko Sano, the author of The Cat that Lived a Million Times and her son, Zen Hirose, to have a special talk session with Oyamada. However, the financial situation of the sponsor worsened, everything turned into nothing. But thinking of people involved, I decided to publish it in a form of my zine, instead. Working as a journalist for quite a long time, luckily, I could find some companies who were willing to be sponsors. I was relieved that I could carry it off without causing any deficit and I was so glad I didn’t have to feel embarrassed (laughs). Although I was already very satisfied with what I did, I decided to make another one as I heard so many positive feedbacks toward it.

Speaking of the 2nd issue, the cover artwork of the French band, Phoenix drawn by Klaus Voormann has left me a big impact. The members of Phoenix, (who were spotted at the releasing party) also told us that it was the most memorable project with you saying “Who would think of asking Klaus Voormann for an original artwork?”

I had an early thought for the “paris issue” featuring Phoenix because they were my most favorite band. I was initially thinking of asking Carine, who is an illustrator and also a wife of Branco, for the cover illustration. However, she told me she wouldn’t be able to handle the volumes of four members as it appeared to be too much for her. She told me she would do solo artist, but I couldn’t think of anyone besides Phoenix. Carine’s illustrations are very delicate with depictions of every single hair. And my artistic director pointed that her style must have been influenced from the album artwork of Revolver. And I wondered if the person who drew that was alive, and I searched his name on Wikipedia. And it turned out that he was still alive (laughs)! I gave it a try and made an inquiry from his website attaching the PDF data of our 1st issue. And he replied to me immediately that he would accept the offer. As I was a little suspicious if he was even real, I went to Munich to pay him a visit. When I could finally see him in person, I was so relieved that he was real.

Did everything go well?

I actually asked him to revise it three times (laughs). That’s because Klaus didn’t know about Phoenix when I made an offer. The members were thrilled to provide their private photos for the illustration except for Deck who didn’t have any photos with an angle Klaus wanted. So, his face had a slightly different angle compared to the original.

Phoenix must mean very special for you.

Yes, they are. Although they are making top sales around the world, they have been maintaining independent attitude. I feel strong empathy that they handle all the projects within their control. I genuinely love their music as a fan, and I believe with no doubt that they’re the modern Beatles including the fact that their partners in personal lives are also engaged in artistic fields. And the band is formed of four members who have been friends since kids and two of them are brothers. It’s a miracle that they have been active as a band for such a long time.

It would be impossible to do it with same members, as Shock Machine insisted in your latest issue.

Exactly, it wouldn’t work out.

And when I asked them to describe what kind of person you are, they said that your words are different compared to other journalists. You don’t talk about the technical stuff behind the production —what you center on are the feelings and mindsets. Is it also based on your experience of being in the band?

I never meant to intend to do it but I’m not fond of the interviews you usually see on the magazines. Music is all about what you feel or sense from the sound but there are so many journalists that don’t even try to listen to the sound. They only talk about what musical cliques they belong to or what instruments they used for the recordings. You can’t understand what they are talking about unless you have knowledge or experience in music.

I think that’s what makes nero different among all the other music magazines.

I’d like to have universal values in every single stuff I make. The Beatles, for example, sang with words everyone can easily understand. And my father used to say “the smarter you are, the simpler you can make”. What I’m always trying to do is making things as simple that anyone can understand without showing off how smart you are. I just want to convey what the artists are trying to say through their music. And it’s okay if it only appeals to a few people.

Another remarkable difference of nero apart from other ordinary magazines is that you feature musicians and artists from overseas.

It’s partly because I personally don’t like the editorials in Japanese magazines. Also, I didn’t know many photographers because I was a music journalist. When I tried to come up with creators I wanted to work with, they turned out to be from outside of Japan. I don’t listen to Japanese pop music as well because you can’t feel the unique vacancy you often get from western indie music. I just don’t find the originality in Japanese music.

You have worked with Hedi Slimane as a photographer in your previous issue as well.

Hedi told me he was surprised to see there was a magazine like this from Asia. I believe he liked that I genuinely delve into music without depending on fashion. I asked him if he could shoot The Lemon Twigs for the feature, and he suggested that he would do the whole book. I was truly happy when I heard it even though it didn’t come true due to the schedule.

You interviewed Arrow de Wilde from Starcrawler years before she received public attention. It has become much easier to get latest information about new artists if you use Instagram and Apple Music. How do you get information about music?

Actually, I have never used Apple Music (laughs). I just regularly go to Tower Records, or I ask my local friends when I visit abroad. I hardly use social media —you could tell how old-fashioned I am if you see my room filled with CDs and records. For Arrow, she was very popular in LA for her cool look. But I was more of a fan of her mother, Autumn de Wilde. I had previously made offers for her a couple of times before it came true, but it was very difficult to work with her. So, I proposed her about shooting her daughter, I could get a good reaction and I could finally work with her.

There are only three people in my life who got me intimidated: John Lydon, Liam Gallagher, and Sky.

Your 3rd and 4th issue are themed as “grrrls issues”. Are there any female creators who left you big impacts?

The first person that came to my mind was Arvida Bystrom. I met her when I was interviewing the collective of female creators called The Ardorous curated by Petra Collins.

You have also worked with Petra Collins earlier in her career.

She was still in the beginning of her career at the time. She was looking for a place to stay in New York on Twitter, so I let her stay in my hotel room.

It is unbelievable for her current fame.

I always wanted to work with her so I asked her if she wanted to shoot Grimes. She willingly accepted it and we went to Salvation Mountain in LA with other four girls by car. I also remember the shooting with The Like as well.

Are there any other artists you remember well?

Sky Ferreira. Petra was the photographer for the shoot as well and it was one of the most exhausting projects I have ever done. Initially we were supposed to do the shooting in Japan during her stay, but it was rescheduled to do it after she came back to the U.S. However, I couldn’t get in touch with her after she went back, and I asked Petra to catch up with her because I really wanted to make it happen . Luckily, Petra spotted her at some party, so it was Petra who made her an offer for the feature (laughs). Even after I left for the U.S. for the shooting, she called it off twice. The shooting ended up at a motel in Philadelphia after three-hours’ drive with other two girls.

That’s an intense story.

It was very exciting, though. I find it fascinating to work under some sort of pressure. I could barely talk to her while we were on the car because she was very intimidating.

What do you mean by “intimidating”?

Sky had this dark vibe that could intimidate people. I don’t usually get intimidated by seeing someone but there are only three people in my life who got me intimidated: John Lydon, Liam Gallagher, and Sky. I meant “intimidating” in a respectable way and I think that’s why they are charismatic. Petra’s photos turned up to be so good and I think that’s the most memorable project of all.

I want to feature people with absolute talent and beauty on nero.

And the latest issue is “BOYS issue”. How did you decide the theme for this issue?

I made “BOYS issue” because it tended to be boys when I thought of the artists I liked at the time. I had been following Cosmo Pyke for almost half a year. And I felt like girls were more likely to be featured than boys, so I guess I wanted to do the completely opposite to break that stream. As I said earlier, I have made two grrrls issues, and it’s true that I love discovering something new. However, I easily get bored when everyone starts to do the same because I have always been into counterculture at every point in my life(laughs). I believe it is an important element for culture to have courage to hold on what you believe even if it was against the majority. I’m not sure if I have that courage in myself but I wouldn’t find any meanings in doing my job if I don’t have that mindset.

The covers for this issue are Cosmo Pyke and Troye Sivan. For Troye, this will be the second time featuring him, right?

He liked the pages I made for the previous issue and he was also up for another collaboration. Troye has such a good sense in visual making and he is very aware of how to make himself look good. The photographer for the shoot was also his recommendation. He has the ability to judge people who would make good chemistry with his aesthetics. And most of all, he is unbelievably beautiful.

You had been following Cosmo for about half a year. Working with him must have been very special to you.

Cosmo and King Krule are my favorite artists at the moment, both of whom happen to be the graduates of the BRIT School, one of the finest schools of performing arts in London. Their sounds are similar but Cosmo makes music based on his happy memories with his family and King’s music has darkness. And they both have appealing styles and appearances. In Japan, idols with friendly personalities tends to be more appreciated and popular but I believe artists with public attention must have talents and beauty. There could be some exceptions with extraordinary talents, but I’d like to focus on featuring people with absolute talents and beauty on nero.

Personally, I was so absorbed in reading the interviews with Shock Machine and HYUKOH. Shock Machine —who is a former member of Klaxons, which disbanded after the worldwide success— is now pursuing his own music in the different way. On the other hand, Oh Hyuk from HYUKOH describes himself as a “spectator” and he makes music with “surrendering”. I found the contrary between these two very interesting including the arrangements of the pages. Did you feature them on purpose for their distinctive features?

It was all accidental (laughs). But both of them happen to be very loyal to themselves and have their own styles. And they both know the struggles of being top runners and the contradiction of commercialism and creativity.

Shock Machine also said “Don’t be trendy, that’s the worst” in the interview. I thought you and he have similar opinions.

I think so too (laughs). I think that’s why he gave me an interesting story. He is a great artist who has made something trendy without even intending it to. And he pursues art with timeless charm and I feel empathy to him in that sense.

Oh Hyuk from HYUKOH said in your interview that people of this generation could only make fusion things. I feel like his words represent the mindset of the young generation. What do you think about this generation?

I think he is to the point. I find it boring because they seem very conservative. Youth means that you are allowed to be ignorant and naïve. So, I wish their attitude were more challenging to make something new even though all the good things were already out there. I want to feel their youthful spirits. The writer, Ko Machida once said that he hates seeing the idea of upgrading. He said, “if everyone was into technology, then I would keep digging a hole”.I’m totally with him and I also want to pursue my mind thoroughly and seek out what I think is right. The idea of upgrading could never refer to the quality of wisdom or knowledge —it’s within a scale of information. However you do it, it’s all about how you sublimate and delve into them and that’s how it reaches into new things. The world is not black and white like Hollywood movies; there is a delicate nuance in between. And I understand it sometimes requires to be a spectator. I love HYUKOH in that way but I’m not fond of their idea of surrendering (laughs). They might choose not to confront intentionally, but the idea of surrendering is not something peculiar to this generation as Oyamada also said that you wouldn’t be able to maintain yourself if you were facing everything.

As a music journalist, what do you think about the current music scene?

I also find it quite boring. The type of music I like is not publicly appreciated and there are too many subgenres, so it doesn’t generate any peaks or stars.

The world seems to be drawn to hip-hop lately.

It’s just not featured on nero but I’ve loved hip-hop for a long time. From the classic Native Tongue like The Pharcyde, Pete Rock & CL Smooth to Common Sense. I like newcomers like Chance the Rapper, Kendrick Lamar and Loyle Carner. I find hip-hop very musical and profound because they are mainly consisted with words. To me, Bob Dylan sounds more like hip-hop in that sense. I love KOHH who I featured for Vol. 8 Art & Romance issue because he only raps about what he wants to say.

Are there any artists you’d like to interview in near future?

Jean-Luc Godard and Bob Dylan. I just finished with the latest issue, so I don’t have any specific plans yet. Probably Frank Ocean, if you think more realistically. I heard that he is interested in the magazine. I’d love to interview him when he releases new music.

Have reasons to do what you do and do it thoroughly until you reach the true essence.

I believe you have realized that it would reach the level where only a few people can appreciate when you only focus on what you love. What do you see from the perspective of business?

I could have pulled it off because there was understanding from my boss. So, I don’t have a concreate answer yet on which direction I am to follow. I strongly feel I don’t want this to be too public. It might be too soon to make that decision because there would be so many people who don’t know about the magazine even though I have made 10 volumes. It would be cool if I could find partners to release international editions. I often see the Japanese versions of foreign magazines, but I don’t see the opposites as far as I know. So, it would be interesting if it did happen, and it would be such an achievement as a Japanese magazine. It’s something that I always feel as a creator —if you don’t showcase what you did, it wouldn’t make sense at all. I have a strong sense that my magazines are my creations.

It’s getting common to see people making their own zines, and more and more young people are interested in creative fields. Do you have any messages for them, reflecting on your twenties?

The most important thing is doing it immediately, right now. Pour your whole energy into it and never quit —don’t think it is a big deal that you’re doing it. And I have another quote from Chet Baker from his documentary: “Find what you love and be best at it above anyone else. Then you can make your life easier”. I think he is absolutely right. Be clear on who you are and what you love. If you’re not sure, then you should admit that you’re not. If you don’t find anything interesting, admit it either. Have reasons to do what you do and do it thoroughly until you reach the true essence. That’s all I can say.

Lastly, could you tell us what you want the readers to get from your magazine?

I could handle it all by myself. I’d be happy if they were encouraged that they could do anything if they tried from my magazines.