Did you approach the making of Hypnotic Underworld differently from the previous two albums?
There were not differences in between [it] and other albums on songwriting. I just write some simple folk tunes, chants or basic track ideas—except the first [track] was improvised in the studio. Always [my] demo tapes are sent to the other Ghosts before rehearsal. Then at rehearsal we try to arrange the tunes in our way.

The new Ghost guys, including Giant (Taishi Takizawa), got the spiritual groove enough to complete an album immediately. For a few months we did rehearsals and started recording sessions in July ’03. Probably three or four times and the recording sessions were done. It was very quick like Free Tibet but took a very long time to mix, a whole two months. None of us remember how many hours were spent mixing down. Maybe it was the longest mixing [for] us ever.

As [the players] change, the music should be changed naturally. We don’t intend to change the sound every time, but naturally new expression is born inside of us as result. Can you find any similar albums of ours? We never do same expression [twice]. You can believe it.

Free Tibet was an overtly political album. Does Hypnotic Underworld have a particular message or theme?
We don’t intend to put a certain theme in Hypnotic. But you can find messages in music. A lot of ways [of] interpreting my phrases in lyrics. Each of you can find each thoughts inside of them.

Were there any specific bands or records that inspired you during the making of the album?
There’s no idols in our minds to imitate. Creation should be born naturally from deep inside of us, not to be made up in a materialistic way. In fact, although we were influenced by many great Eastern and Western cultures [of the] past, none of us can find worth to follow them any more.

Do you like cover songs? You’ve done in the past the Stones’ “Live With Me” and Pearls Before Swine’s “Images Of April,” and now Syd Barrett and Earth & Fire.
Cover tunes do not have important meaning at all, though, of course, we love them and respect their artists. That’s why we know there’s no meaning to copy them the same as they are. Tunes were created perfectly already in the past. We just take them like mirrors to show ourselves in different ways. We love to turn you on by our own method: destructive construction.

Talking about “Dominoes,” one day I wrote a beautiful instrumental with gloomy open chords by acoustic guitar. (I write all the tunes with my acoustic guitar.) I tried to put many lyrics to be in harmony [with the music] but could not. Finally I remembered the lyrics of Syd Barrett’s “Dominoes” that were gloomy-colored. That perfectly matched my instrumental tunes. That was sad but warm, dark but bright, hollow but fulfilled. As a result there was no other good lyrics except “Dominoes.” I love his original version, but believe my instrumental suits it much more!

Earth & Fire was my favorite group in my school days. Originally I wrote this [arrangement of] “Hazy Paradise” for Damon & Naomi in 1999. I thought if Naomi sung this tune it might be truly lovely. Unfortunately this tune was not recorded by them. Later, I discovered this in my demo tapes and have done it by myself.

Is there a supportive scene in Japan for you?
There’s no scene suits us. There’s no interesting bands except Acid Mothers Temple and Rashinban, led by Seiichi Yamamoto (ex-Boredoms) here.

In a related vein, the international scene—for example, the writers, musicians and fans who attend the Terrastock festivals—in particular holds Ghost in very high regard. Do you feel a musical or philosophical kinship with that scene?
They don’t need complicated thoughts to trip with us. But if they really want to understand and enjoy my lyrics, they had better read Eastern and Western books, too. So far only Damon Krukowski can do it in this world. American youth should better buy Exact Change books [Krukowski’s publishing company] in Cambridge firstly!

Can we expect to see Ghost tour America in 2004?
We’re not interested in doing same expression again. So touring does not fascinate us at all. We just come to play for our fans and our honest label, Drag City. Maybe a U.S. tour will happen this fall. Still not confirmed yet. But anyway we will do it soon!

Lastly, congratulations on becoming a father. Do you think that will influence your outlook as a musician?
Thank you kindly. (Daughter) Mayuri gives me true happiness all the time. At least now, there seems to be no influences in my music. But very soon maybe I’ll start to write lots of lullabies. And I’d better mention to you I don’t think I’m a musician. I’m just a man who does expression in ordinary daily life.