TK from Ling tosite sigure on Being in a Band vs Going Solo

TK from Ling tosite sigure has quite the legacy of music through his band and solo projects, but you probably know him because he is responsible for one of the most iconic anime OPs of all time: the incomparable "unravel" from Tokyo Ghoul . TK from Ling tosite sigure left such a mark on anime that his return with Chainsaw Man 's eighth ED "first death" caused quite the stir amongst fans. Here, TK from Ling tosite sigure talks about his experiences as a solo artist and being in a band, he shares his thoughts on expressing yourself through art, and more. Can you start by introducing yourself? TK: My name is TK. I'm the guitarist, vocalist, and songwriter for the three-piece band, Ling tosite sigure. For my solo projects, I use the name "TK from Ling tosite sigure." What is the difference in music style for Ling tosite sigure and TK from Ling tosite sigure? What strengths do you find in each identity? TK: My career started with the band. When I first started playing in a band, I never imagined I'd go solo. In the band, I have to think about how my sound meets and meshes with the sounds of the bassist and vocalist, Miyoko, and the drummer, Nakamura. Ling tosite sigure's music is about the three of us making music together. There's not much room for me to think about anything else. RELATED: Watch TK from Ling tosite sigure's Intense Performance of Chainsaw Man's 8th Episode Ending Theme in Concert TK: But as a solo artist, I deliberately create things I can't in a band. With the band, I try not to think too much. I focus on the sound we create as a trio. But on solo stuff, that restriction is lifted. There's greater instrumental variety, though the core remains the same. There's something cathartic about it, too. That's different. With the band, I focus primarily on the friction between us. When working solo, I think about the beauty and melodiousness of the music as a whole. Of course, since I write the songs for both, some people might not be able to tell which is which. But as the creator, I've noticed that difference. TK: With the band, I start with the drum part, then add my guitar part on top. But for my solo stuff... since I play a bit of piano, I'll come up with the chord progressions on the piano. I'll start by using a synthesizer to create sounds I like. I've always created with the guitar but I feel like I've already played every fret, chord, and tone on it, so I like using another instrument as my starting point. It's refreshing. To me, the band and my solo career are, in some ways, in competition. The band is my primary focus, but my solo career is what my music would sound like without Nakano and Miyoko. We're a three-piece band, so it has a unique balance. Every instrument is essential for it to work. Nakano and Miyoko play huge roles. So over the course of my long career, I've wondered, "What can I do?" I can create music as one third of a group, but can I truly make something out of nothing? RELATED: TK from Ling tosite sigure's Tokyo Ghoul Theme Song Reaches 200 Million Streams on Spotify TK: I try to take a bird's-eye view of what I create and expand it further. I've nurtured a fixation for doing that. I wrote songs by myself because I wanted to be in a band. At the time, finding a drummer was difficult. Miyoko and I were originally in a cover band. We were the only ones left after the other members quit to find work. When we were looking for a drummer, we asked, "Who do you like? What do you want to cover?" There was some time pressure, too. I'd present original songs to demonstrate what we wanted to do and looked for people drawn to that. I imagined playing in a three-piece band. TK: Now that I think about it, when I'm writing music, I don't really look into the future. Moment by moment, I consider the sound in front of me and choose what I want and what I don't, then work that into a single moment. Looking back, it might seem like I could see where I was heading but I don't think I did at the time. Writing music with some restrictions is both fun and difficult. Ultimately, it creates a miraculous beauty. That's what makes Ling tosite sigure unique. But only writing for the band makes me wonder if that's the only environment in which I can create, so I deliberately open that up. But then, that makes me want to close it back up and solidify it. RELATED: TK from Ling tosite sigure Performs Tokyo Ghoul Anime OP Song "unravel" for YouTube's "THE FIRST TAKE" TK: I'm always writing with fresh feelings, which feels like a healthy way to do it. For me, everything is connected. There isn't really a border between things. Whether I'm singing on my own projects or writing for someone else, or even in the rare cases where I'm not writing or singing and I'm just the sound engineer, even then, I feel like I'm making music. The output subject just changes a little. For me, it's all connected. From singer-songwriter to producer, you really have a hand in so many creative spaces in the music industry. Why is it important for you to wear so many different hats and what doors has this opened for you? TK: My band, Ling tosite sigure, is fairly atypical. By expanding my own breadth... naturally, I have a vision of the band that I've created, but more than that, my own attachment to pop is significant. People who only listen to the band's music might think I seem scary or that I only like a distorted guitar sound. They might have a very specific image of me or the band. But I want as many people as possible to hear my music. Who I am personally is different from the band's image. There's a gentleness to the interest in my solo projects and my producer projects. That interest creates an openness to accepting other things. People probably doubt I'd do it but I've always wanted to do all kinds of things besides just playing in a band, like sound engineering. I've always had an interest in expressing and seeing my music from different angles. Little by little, people have learned that by listening to my music, which has led to me getting offers to produce. RELATED: Crystal Kay and How Anime and Music Connects Us All TK: Oh, right, yeah. I take pictures, too. It's a form of self-expression and connected to everything else I do. I also recently wrote a book. I've written lyrics for a long time and writing prose is both similar and different but communicating to the reader what I wanted to express felt the same. Photography's the same. I often take photos while traveling abroad. I think about what film or filters I should use to capture the sights I see. Even when making music, I'm always interested to find out what my internal antenna will point me toward with music, such as for films or other installations. Some artists you worked with in the past include Aimer, milet and Koshi Inaba. Do you get nervous at all working alongside other talented musicians and is there anyone you would love to collaborate with in the future? TK: Even if I'm not singing, I'm still interested in other types of collaboration. It depends on the person. I definitely feel more excited than nervous. If it's someone I'm friends with already, I'm focused on the music we're creating. I don't pay much attention to anything else. The first time I met Mr. Inaba was when I worked with him. He's an industry veteran I love, so I was nervous at first. But as I immersed myself in creating the music, I was excited to see what kind of sound we would create together. There's always some tension, but that's part of the process. The excitement is just so great. When collaborating, it's the excitement of discovery that has the greatest impact on my emotions. I feel like I get to go places I've never been before. RELATED: Ethan Bortnick on Loving Gengar and His Favorite Anime Soundtracks TK: When I'm producing, rather than using another artist to express what I want to create, I focus on what kind of melody makes them shine the brightest when they're performing. I'm often told the overall sound I create is recognizable as TK or Ling tosite sigure but producing isn't about me creating an outfit and making someone else wear it. It's about making adjustments to suit the person wearing it. That's really important to me. I like working with singers whose voices I'm drawn to. I think about the kind of music I'd compose for film directors I like, such as Michihito Fujii. I'd like to work with everyone I'm interested in. “unravel” is often referred to as the greatest anime song of all time. At the time of the release, did you anticipate the success and impact it would have? Does “unravel” hold any standards for you when it comes to crafting songs now and specifically songs for anime? TK: I always think my music will do well, though that doesn't mean I think everything will do massive numbers. Ultimately, the numbers reflect whether people relate to a song. In some ways, when artists say they want as many people as possible to listen to their music, they're talking about sales. Tokyo Ghoul was originally a niche series when it was adapted. It felt different from the kinds of series that get adapted to much fanfare. I strove to write the coolest possible music for the story that could be created between Sui Ishida and me. And what I arrived at was a high point for me. That said, when I made the demo, separate from the success of the anime, I don't remember anyone saying the song would do well. I feel like every demo I make will do well but everyone around me had a completely different opinion. Maybe that's just something that comes later. RELATED: Stray From The Path's Craig Reynolds on Getting Jacked Because of Anime TK: Mr. Ishida and I didn't communicate much directly at the time. It was mostly through other people. I started with an up-tempo song. Among other things, I was asked for something a bit more mid-tempo. The second song I wrote was "unravel." The label expressed doubts about a mid-tempo opening theme. But the dark quality of the manga and what I'd created were a perfect match. Timing and cultural context matter when creating something but it's a coincidence when all kinds of things are drawn together to create something miraculous. It's not something anyone can predict. The lyrics for “unravel” are spot on when reflecting the characters in the show. What was your process for coming up with such profound lyrics that fit Tokyo Ghoul so perfectly? TK: I don't feel like I did anything special. I don't typically consume manga or anime. When working on a series, I start by doing everything I can to absorb the story. Because I don't regularly consume manga, I have trouble absorbing the material. I'm not used to it. So I reread it again and again until I've absorbed the story. If I'm asked to write a song from the perspective of a certain character, like the protagonist, I'll look for things I share in common with them. The urge to eat people is a major part of Tokyo Ghoul . That may be unrealistic, but we've all experienced what it's like to have someone inside besides yourself. RELATED: Music for Imaginary Movies: An Interview with milet TK: Unrealistic settings are common in anime, but I try to tie together the protagonist and the central story, myself, and the listener. My method frequently involves digesting the story in this way. Even if the world of anime is unrealistic, it depicts sensations I may have felt recently. I look for ways that the unrealistic and the universal overlap. You can play a multitude of different instruments and rotate through many guitars during your live shows. Is there a guitar that you bring to every show? Are there any instruments you would like to learn? TK: Well, I have my main guitar, which is ridiculously heavy. It's the first original guitar I had made. That one and my backup are configured to produce basically the same sound. I use my first guitar as the baseline for all of my sound settings. When I switch guitars, the tone stays mostly the same but the tuning changes song to song. I'm more likely to adjust my performances that way. Some people frequently change instruments, like from a Telecaster to a Les Paul to a Stratocaster. But that creates a sense of unease for me, so once I settle on one sound, I prefer to keep it for the entire concert. On our band's recent tour, I stuck with one guitar the whole time. Depending on the set list, I might not switch instruments. RELATED: Che Lingo Breaks Down Collaboration with Crunchyroll on LIFETIME and Loving Anime From the Very Beginning TK: What instruments would I like to learn? I bought a violin once, but I gave up when I couldn't tune it. I don't know if there was something wrong with the violin or my tuning but I'd like to figure that out and give it another shot. We are constantly impressed by your vocal range. How have you trained your voice over the years and how did you begin exploring with your vocals to create your original style? TK: When Ling tosite sigure first entered a rehearsal studio, it was this tiny run-down studio in town. When we first practiced songs I wrote, I couldn't hear my own voice at all. Looking back, it was the sound monitoring system. We didn't have ear monitors, just speakers. And since I started out as a guitarist, I'd turned the sound up pretty high on my guitar. Various factors contributed to me mistakenly thinking I'd be inaudible singing in that range but I realized I was audible when I sang one octave higher, so that's what we did. Now, with Ling tosite sigure and my solo projects, my singing voice has a solid influence on everything but I didn't choose that range because that was the sound I wanted to create. I just started singing an octave higher because I couldn't hear myself in that run-down studio. RELATED: Bilmuri on Using Anime as Musical Inspiration TK: So at first, my voice cracked a lot. Initially, my singing voice felt deep. My speaking voice isn't particularly high, either. So I didn't really feel like I was singing when I was singing in that original range. By raising it an octave, my voice cracked but I felt like I'd found what was right for me. From there, while practicing my current singing style, for some reason, my voice stopped cracking. I've been self-trained ever since. There are things about it that bother me, so I'd like to do some voice training to develop a technique that expresses that self-taught quality, but I haven't done that yet. I'm still only self-trained. I'm still in the middle of learning. Rapid-Fire Questions: Who is on the top of your playlist that you are listening to right now? TK: At the top of my playlist is Lana Del Rey's "Say Yes to Heaven." I think I heard it on a recommended Instagram post and it made me real nostalgic. It uses a chord progression I often use. I like listening to it again and again. So lately, I've been listening to Lana Del Rey's new song while experiencing that nostalgia. Do you have any pre-show rituals? TK: Rituals? Well, naturally, I use a humidifier. In terms of music, I'll put a straw in a plastic bottle and blow bubbles. I'm not sure that counts. I drink iced coffee. It's probably not good for me, but I drink iced coffee. What is one US city you would love to perform in? TK: The US? I haven't been there much. I'd like to visit San Francisco. I guess that's just where I'd like to go. I'd like to perform in New York, too. Which of your songs do you have the most memories with? TK: "Azayaka na Satsujin." It's the first song I wrote. While searching for band members for Ling tosite sigure, I looked for people who wanted to play that song. It was also the song I practiced to develop my current vocal style. In that regard, I have a lot of memories associated with it. What’s your favorite food to eat on tour? TK: It depends on the place, but the day before concerts, I like to eat mizutaki, which is Japanese chicken hot pot.It has this moistening, enriching effect. That and iced coffee. This or That: Coffee or Tea? TK: Coffee. Is coffee this side? I drink up to three cups every day. I don't really have a routine, but I can keep drinking iced coffee for longer, since hot coffee goes cold. I grind my own beans, yes. Headphones or Speakers? TK: Speakers. My own studio is soundproofed, so I turn up the volume pretty loud to check the sound. Sweet or Savory? TK: Definitely sweet. I don't really like spicy stuff. I do like kimchi jjigae stew. I don't like regular kimchi, though. Wait, I'm supposed to be talking about sweet foods. I like pancakes. Action or Romance? TK: Action, maybe. But suspense is my favorite. If I had to choose, I like genres with movement. Do I have a favorite? I like Sherlock . Dining Out or Home-cooked Meal? TK: I prefer dining out. Um... In my own studio, I'll cook pancakes for breakfast before work. But I prefer dining out. I like talking with people while eating. Nothing tastes better than a post-concert meal. Guitar or Piano? TK: Piano, maybe? Surprisingly. I started with piano. The guitar is like a part of my body. I need the guitar, but that's why when I want to create from a different angle, I'll use the piano. See 10 minutes into your own future or be able to see someone else’s entire future any time you want? TK: If it's not controllable, then someone else's. I don't want to see my own future. I'd rather see 10 minutes of my present at a time than my future. Seeing the future would make things less interesting. You'd realize a song won't do well in the middle of writing it. Talk to animals or speak all human languages? TK: All human languages. Understanding animals might end up making me sad, so I'd rather speak all human languages. I travel abroad frequently, and I'd say my English is a two out of 10. I've always wanted to get it up to a five, but here I am still wishing that at 40. Maybe there's no hope for me now, but I'd still like to try, so I hope I get invited to perform somewhere. Thank you. I don't get many interview opportunities, so I'm glad if I was able to share part of my brain with you. I was TK. Thank you.

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