Translation is thanks to Mittens_220. I meant to do it myself but…work….and pokemon…

 

《Anikan R MUSIC》Vol.5 Emergency · Special Interview Revo (Sound Horizon) × Kajiura Yuki (FictionJunction, kalafina)

Original text was published in《Anikan R MUSIC》Vol.5 (On sale 1^st April 2008)

Text: Tomita Akihiro

 

JP-CN Translator: 西风散尽

JP-CN Translation Checker: 莎莉蛋糕、海带

Chinese Translations are taken from: http://www.horizon-wiki.cn/media:anikan-r-v5-revo-with-yuki-kajiura

 

A dream-like collaboration Live from Revo x Kajiura Yuki!

This piece of unbelievable sounding news will finally be talked about by this pair! “Dream Port 2008” which became a trending topic starting in Japan, Taiwan and other areas, will be held in Kobe and Yokohama, the Revo x Kajiura Yuki talk about this will finally be fulfilled here! Containing various valuable content, every word and sentence should not be missed!

 

——The「Dream Port 2008」this time came as a shock to both your music fans. As for why it was such a shock, simply put, no one had expected it at all.

Revo (abbreviated as R from now on): Shock huh…it probably is.

Kajiura: I see (laugh).

 

——First, let’s talk about how this project begin, why did the two of you decide to perform together, please start from here.

R: At the beginning, the two of us aren’t really considered friends, it was more like I was one of her music fans. Every time I hear Kajiura-san’s melodies on various occasions, I would realise, “This is a person who can write a good melody”. At the beginning, it was only at this level. But I have interacted with the staff of her agency, so gradually……

 

——That means, it started because Revo-san first extended a passionate invitation?

R: However, it’s not as if it can be summarized like that so easily.

Kajiura: In addition, it’s not as if the whole thing was decided after both our agencies discussed it on their own and said “Then it’s decided!” I wanted to hold a Live in 2008. So it can be said that because this idea happened to overlap with the Dream Port project……

R: That’s right. After the two of us reached a common point of agreement, we talked about “If we could do something together, it would probably be quite interesting”, and that’s how we continued on with it.
Kajiura: Not knowing how it led to this, we first talked about the topic, “How about we hold a Live together?”, then I said, “I actually really want to hold a Live”. Rather than a huge opportunity which caused the both of us to think “Alright! Let’s hold a Live!”, it was more like a natural result from talking with each other? It’s that kind of feeling.

R: In my opinion, as long as I am with talented composers, it would result in a huge positive influence on my creations. So, even if saying this is rather mean to the fans, but actually, it’s not as if we must hold a Live.

Kajiura: (laugh).

R: As a composer, just drinking red wine and chatting with her would be enough to gain a good stimulus, and in fact, I did accept this kind of positive stimulus before. But if it’s just like this, both our agencies would not be able to gain any tangible benefits (laugh). Then it was suggested, “Since the two of you are going to collaborate, wouldn’t it be better to hold a Live or something?”. Someone also said, “Why don’t you release a CD?” and similar things. Therefore, it did not have to be a Live, but there is a feeling that if we can collaborate and produce something, it would be very interesting. At that time, Kajiura-san wanted to hold a Live, so it was decided to present it as a Live this time.

Kajiura: That was how it was. The plans I set for myself was to hold a Live in 2008.

 

——Before this collaboration, Kajiura-san already knew about Revo-san’s existence before formally meeting each other?

Kajiura: Of course I knew. I heard his works before. At that time, I felt “Sound Horizon (abbreviated as SH from now on) is amazing!”

R: Ahahaha (smile/laugh).

 

——After that, it was decided to hold the Live at Kobe and Yokohama, and the venues and dates were also set, this Live「Dream Port 2008」became a reality just like this.

R: What to do at the Live, when it was first suggested, there was obviously no clear concept, and at this point, all the details have not been finalized yet, but I am still harbouring huge expectations in my heart. Is it possible to do some interesting things? Excited feelings like this. If it was something which you feel is ‘boring’ since the beginning, you would suffer a lot while doing it, right? However, the Live this time, even if no one knows how it would turn out if we do not continue to work at it (smile/laugh), but this is definitely a project which would make people feel ‘This would become very interesting, yeah!”. One of the reasons is because I have always respected her a lot. If not for this reason, even if I feel nervous as well, it would not be the same as the expectant feelings. Even if repeating this point might be annoying, but I am really excited right now.

Kajiura: In my opinion, there is a lot of pressure after all. Firstly, this is the first Live held under the name of Kajiura Yuki, and until now, I am still exploring suitable presentation methods. The Lives there were held before were under the names of the groups See-saw or FictionJunction YUUKA and so on, but it’s different now, inviting many people to sing the works I created while including the original soundtracks, this is the first time I held this kind of Live. And talking about SH, aren’t they famous for their Lives. Aren’t SH Lives very interesting and exciting? They are a group of charismatic people who have been holding Lives to make the audience happy after all.

R: That’s very high praise.

Kajiura: And deciding to collaborate a hold a Live with a group like them, I feel that I can’t make the audience feel “SH’s Lives are the best, but Kajiura’s one is…” I must make myself feel that we have really held a very interesting Live, and we must make it such that the audience will feel the same as well, I have to put in 12,000 points of effort to do my own part well, that’s what I feel.

 

——Currently, while feeling expectant, you still harbour some uneasiness, is it like that?
Kajiura: That’s right. But this kind of nervous feelings will also turn into motivation. I will become more hardworking because of this! I would think that way.

 

——Then, once again, please talk about your impression about the other party based on the respective music style.

Kajiura: When I first listened to SH, my first thought was “He’s really too good at writing melodies”. How should I say this, I was very shocked.

R: You were actually shocked because of those (laugh).

Kajiura: It’s true. In conclusion, every melody appearing in the songs were all amazing. This really shocked me a lot, to the point which I thought “So there is someone in Japan who can write such amazing melodies. In fact, I was rather envious.

R: It was really worth it to have this meeting today (laugh).

Kajiura: Ahahaha (smile/laugh). In addition, aren’t there a lot of melody changes in what Revo-san writes? Normally, those J-POP composers who write songs with basic composing methods would finish writing the verse, pre-chorus and chorus and put those together to write a song. But for him, he would continuously throw out various beautiful melodies without any structure into just one song. Making people feel “Isn’t this too luxurious”. But at that time, I also thought, maybe that it was music is in the first place, something which is more free-roaming. And on top of that, there are still stories in SH, right? I feel that we stick to the rule too much when creating music. I would also subconsciously use two different ways of composing when I am creating soundtracks and pop music. Based on the differing music genre, I would subconsciously follow the corresponding rules, but he is not restricted by such things at all, and enjoying music freely. Realising this gave me a huge shock, really.

 

——After hearing what Kajiura-san said just now, what does Revo-san think.

R: When I was listening to Kajiura-san’s soundtracks and theme songs, I felt that although there are elements of folk music, very modern western music culture was shown at the same time. And using her skill, she coordinated all these elements together, including the message expressed in the music, the usage of instruments, none of them conformed to any traditional pattern, and it was presented to the listeners in a very unique way, so I felt that this is really a very amazing person. In addition, her song output is too shocking. With such a high quality, she could still write so many in such a steady stream. To me, this part of Kajiura-san stunned me. I hope I can have that kind of gift (laugh).

 

——When a person listens to both your works, within the music concepts pursued by SH and Kajiura-san, a common point of “storytelling” could be found.The feeling of theatre could be found in SH music while Kajiura-san’s music is more like that of a movie. In terms of this, do both of you resonate with each other?

Kajiura: With regards to this, I had very deep feelings about this since the beginning. In my opinion, music needs to be something which can touch my soul. There is music created for calming people down, or the music genre which closely resembles that of ambient noise, but I want to create music which touches the hearts of others, even if I am not intentionally chasing after this, the music characteristics will gradually approach that direction in a subconscious way. Music which is like calming water has its good points, but since I am going to write one, I prefer writing songs which can resonate with others! I am that type of composer. In other words, the feelings of “I want to feel moved by this” is my source of motivation. I hope my own songs will move my heart and are able to touch my emotions. Then I hope it can touch the hearts of the listeners, I have always been hoping this. When I first heard SH’s music., I truly thought “Ah, this is music which wants to overwhelm the listeners’ hearts.” Really, there’s a feeling of pushing people, “Feel touched already!” (laugh). They were filled with that strong power, as if it was a forceful “All of you! Feel something from our music!”, in some sense, it is some kind of unyielding force which makes people feel “I need to feel touched after listening to this”.

R: Yes yes. We will force our views on others (laugh).

Kajiura: However, that’s what I feel is so charismatic about it, it is rare of encounter this kind of style of music after all. Perhaps this can be considered a kind of storytelling in a sense, either way I do resonate quite well with this point. “He wants people to be thoroughly moved by the music”. This feeling, I understand it very well. In fact, I thought, so there is such a method after all. In order to touch the hearts of others, perhaps the method is not that important. It’s fine as long as everything feels moved in the end. His music caused me to realise this, this also surprised me a little.

——I see. What does Revo-san think? When listening to Kajiura-san’s creations, could you relate to the storytelling or any other parts?

R: Of course. Kajiura-san mentioned it just now, after listening to my music, one would realise that I do not really like music where the same musical phrase is repeated over and over again. This is related to my mindset when I am appreciating music as a listener. For example, I would rent a large number of CDs from rental shops such as TSUTAYA to listen. I would listen to different genres and different styles, thinking that I would be able learn something from them.

Kajiura: Ah——so you do such things after all.

R: However, I would be slightly purpose oriented when I listen. For the things I like, I would listen to it more, but even if I don’t really like it, for the songs which are widely talked about, I would still roughly listen to them once. And my expectation for CDs like that is “I hope this is a work which would not make me press the skip button”. But in reality, I still skip through most of the songs. This is my bad habit. “Ah, I probably know how this song will go”, and skip it. Of course, being able to analyse the flow of the notes and structure and being able to understand the spirit behind the melody are two separate issues. However, even if it is like this, my ideal would be to produce a CD where people would listen to it until the end without feeling sick of it. Although my own songs kind of force the listeners to listen to them repeatedly, but when I become the listener, listening to the CDs produced by others, I would pa-pa-pa-pa and skip through them. Therefore the music I produce is probably an antithesis to my actions when I become a listener. Returning to the earlier topic, Kajiura-san produced a lot of original soundtracks, so she’s naturally skilled at writing dramatic music, but other than the pure music level, the way the lyrics were written are also very unique. It can be coined as storytelling, or a kind of unusual feeling not found in daily living. It can even be a type of concept. “I quarreled with my boyfriend……” this kind of trivial matters which could be seen anywhere won’t appear in her song lyrics, right? If we consider this kind of dramatic effect which would not be found in daily living, this part can be considered the common point between us.

Kajiura: That’s right. I’m the same when composing, I would frequently worry about “Would the listeners get sick of listening to this?”, I would still intentionally pay attention to this part. For example, when the development of the melody starts to become flat, I would put more effort into the lyrics, or put some effort into increasing the atmosphere in the melody arrangement and things like that, how to bring in the climax in the melody is a very important issue which I would always think about. For example, “the musical part here is slower, so I’ll add more amazing lyrics”. To present the interpretations and developments in 5 minutes would probably only be possible if you’re responsible for writing the melody, lyrics and music arrangement, I guess? That’s what I think.

R: It’s like depending on being all-rounded. For example, “It’s here, the place I should emphasise”, and pairing a powerful melody with powerful lyrics, something like this.

Kajiura: There are situations like this. Especially in SH, they place a lot of emphasis on the impact of the performance.

R: There is a story in the composition and the song, when the story reaches its climax, a climax would also have to be created in the music as well.

——Currently, there is special attention paid to creating this effect in the Live too right?

R: That’s right. It has already become this kind of model, talking about SH, there will definitely be a Live. Everyone looks forward to it after all.

 

——Then as producers/composers, the two of you would change Utahime based on the song, this can be considered an important common point between SH Kajiura-san’s Kalafina and FictionJunction (abbreviated as FJ from now on) right?

R: That’s right, it’s the same in this aspect.

Kajiura: It is as you said.

R: Actually in the present Japan pop music industry, there aren’t that many composers with this style. On the contrary, within the same style, the one who is the most similar to me should be Kajiura-san, right? That’s what I would think (smile/laugh). As for others, m-flo would probably count, but their musicianship differs too much from mine.

Kajiura: But honestly, it was a rather simple reason on how it ended up like this. I did not do this intentionally, it’s just that after I finished the song and was looking for a suitable singer, I chose a different person in the end. The reason for starting this was just that simple, I did not think of anything else (smile/laugh). The original intention was just “This person is more suitable to sing this song”. But from a business point of view, once a name is given and activities have begun, the naming of the group would become very difficult if the singers keep changing. The songs were not specially written for the singers, so releasing it under the singer’s name would be strange, but releasing it under my name will be equally strange. When a song enters the market as a product, there is a need to give it a name which everyone can understand with just one look, there is some difficulty there. In the end, I would sometimes use FJ and sometimes use Kalafina.

——And to the two of you, your music personality would be FJ, Kalafina or SH, then you will channel your own music through having different singers, that’s what I think. So the mode of “Featuring xx” won’t work.

Kajiura: That’s right, it’s exactly as you said.

R: That’s right. The position of the music producer would be just like a commander in an army. There is a need to think about which soldiers to use to win and areas where you have to personally take command. Therefore, the pretext of having “Featuring xx” where the singers are on equal standing cannot be established. Of course, the completed song will fit that singer. And one more point, basically regardless of who is singing, SH will still be SH. Considering how Kajiura-san would still use the name “FictionJunction xx”, Kajiura-san is still kinder in terms of how she treats the singers.

Kajiura: Ah, but when it came to Kalafina, there were no longer any singer names. I felt that it was fine even if I didn’t add it (smile/laugh).

—— (smile/laugh). So it was for this reason?

Kajiura: It can be considered that way (smile/laugh).

R: Kalafina is mysterious after all.

Kajiura: In FJ, the singers and I have an equal relationship. But when it came to Kalafina, I dropped the idea. Of course, this does not mean I am disrespecting the singers, it’s just that if I have to maintain the equal relationship, I would have to change the name over and over again. And I hope that the members of Kalafina would not be fixed and be more fluid. Regardless of who joins and who leaves, they would still be kalafina when they are presented in front of everyone, that’s what I want to make.

R: That feels just like us (smile/laugh).

Kajiura: In the end, it became close to the SH model (smile/laugh).

——Kajiura-san and Revo-san are the same, because the two of you can convert your feelings as composers directly into the style and personality of the music, you’re able to build this kind of activity model, right?

Kajiura: Perhaps it’s like that, but the record company would also frequently say “It’s hard to sell well with this.” (smile/laugh). The main trend in Japan is to push the Utahime to the front, and to increase the sales by increasing the fans of the Utahime. Using another marketing model seems to be quite difficult.

R: That’s right, that’s right, there is that kind of trend. The people from the record company told me this at the beginning too.

Kajiura: So we were told the same things after all (smile/laugh).

R: However, it has been “As long as Revo thinks it’s good, it should be fine, right?” that kind of feeling. At the beginning it was basically a stern warning of “If you do not promote a Utahime, it will definitely not work in Japan.”

——KAORI-san (Oda Kaori) is a singer currently being hired by the two of you. What do the two of you think about KAORI-san?
Kajiura: Her voice is very bright and clear, I like it a lot. I basically like those singers with a lower vocal pitch and would use singers with a deeper pitch, but her singing voice is really very bright. By using a different singer, the feeling the song gives a person would be completely different. Of course, there is the issue of whether the song is suitable for the singer or not, but on the contrary, when the style of the song is too dark, and there is a need to add a bit of bright tone to save it, I would ask her to join in the harmony. In a good way, this would cause the song to resemble the J-POP style more. She had strong vocal skills in the first song, and she participated in SH activities in the past two to three years, causing her to improve a lot such that she was completely different from before. There probably aren’t that many people who can sing that well. She’s also very proactive in her singing career, she’s a singer I like a lot.

——In Vol 3 of this magazine, Revo-san also made similar comments about the “brightness” which Kajiura-san mentioned just now, right?

R: I should have said “If YUUKI is ‘Yin’, KAORI should be ‘Yang’ right? Ah, that’s great, I didn’t get it wrong (smile/laugh).

Kajiura: Our thinking is similar after all. (smile/laugh).

R: We’re the same~♪ (parts were omitted) The J-POP style which was mentioned just now, I think so as well. Of course there are pros and cons, but when wanting to change the style of the melody, or wanting to dampen the extreme feeling, asking her to sing for a bit will instantly make the song easier to listen to. In SH, there are a lot of premium ingredients like her and because of that, I always harbor this sense of responsibility on how I can cook them well. If the customers feel that it’s ‘disgusting’ when they taste it, would it be the issue with KAORI and the others? Isn’t it because I, Revo, did not use the ingredients well when cooking? I would harbor that sense of responsibility. There are a large number of vocal signals recorded in the CD, and I might have to apologise to every single note, so I am very tense when I’m producing music. It’s not like I can say something like “I’m sorry , I ruined this singer’s unique characteristic. Eh-heh ♪” at the end (smile/laugh).

——I see (smile/laugh). As one of the common points in music, elements of folk music is also a music style the two of you are pursuing. Why is folk music so attractive to the two of you? What do you think about the charms of folk music?
R: For me, I probably have to search for “What is my past life?” and start talking from there.

——The topic just became really broad in an instant.

R: Frankly, I do feel something akin to homesickness from them. Like in normal J-POP, because of the era, one would occasionally feel nostalgic about older songs, but sometimes to these foreign folk songs which you have not heard before, don’t you have some kind of nostalgic feeling towards them too? I really like this kind of feeling. Recently, Kajiura-san and I were talking about a related topic. “The 3 beat system is great huh” and things like that (smile/laugh).

Kajiura: Yes, yes (smile/laugh).

——That kind of traditional feeling is great, is it like this?

Kajiura: Probably, 3 beat and especially 6/8 beat is very moving.

R: Most of the modern music now is 4/4 beat, it gets tiring to listen to after a while.

——That is true.

Kajiura: In the past, I had a realization when someone interpreted 6/8 beat as “rock waltz”. For me, the music I heard before and the music I like just get integrated into my creations. When I’m listening to music, I don’t really pay attention to the music genre, if I just happen to listen to something which I think is good, I would search for it and listen to it carefully. I won’t search for songs based on a specific genre to listen to, this probably affected my creations a little.

——Various music styles would just naturally merge together in Kajiura-san’s mind.

Kajiura: During the 80s, there was a New Age music trend in global music, that could be considered the beginning. At that time, I started thinking about “What was true global music?” and begin to research deeply on it. At that time, the movement of the ranking charts in Europe and England influenced me greatly, even now.

R: The music during the period was really charismatic.

Kajiura: They really were. To me, this part about folk music was really impactful to me.

R: After listening to various types of music, I would feel that for this kind of music form, the more polished it is the better. If I was listening to this live, I would feel that a huge amount of energy brimming over, and it would be impossible to listen to it carefully for one hour. As an audience, they would feel that they can only listen to it while in a trance. For example, to listen to the taiko drums being played for one hour, even the rhythm would be hard to discern. It’s not suitable to listen to folk music using the mindset of mainstream music.

——This kind of eager charm could be truly felt from true folk music.

Kajiura: That’s how it is.

——People say that they would play traditional music at home as BGM, but real folk music does not feel that light when listening to it.

R: So they’re actually not suitable as BGM (smile/laugh).

Kajiura: For those, they should be listened to at live events.

R: To listen to it, it’s probably acceptable if it’s done as part of some ritual and people are dancing while listening to it at the event.

Kajiura: That’s right, listening on the CD feels like there is a shortfall in the spirit to serve (smile/laugh).

R: I know right (smile/laugh). Folk music doesn’t have a chorus and non-chorus after all. When it comes to us, I feel like that we must write a chorus.

Kajiura: Ahahaha (smile/laugh). I understand this so well! I don’t plan to write actual African traditional music, but I will still hope to add in some essence of heightened emotions from that kind of music into the songs I create. Just like what I said before, I feel that it is a method to move people’s hearts.

R: That is true. In addition, a high degree of freedom can be felt from it. Since the beginning of classical music, there is a very strict theory behind western music which has been passed down continuously through the ages, to create music on top of the foundation carefully built up by others, there would definitely be some restriction. If a little is added on top of that foundation, in a bad way, it can be said to be careless, in a good way, it can be said that a soul of freedom had been integrated within, based on the changes in emotions, the degree of freedom will also increase. However, it is said that when someone is in a more relaxed state, it can be seen from the brainwaves that more comfortable feeling things can be written. It’s probably one of the reasons why everyone’s hearts get touched.

——Thank you very much. Next, with regards to ‘Dream Port 2008’, have the two of you begin to discuss the contents of the Live, the setup of the stage and related topics?

R: Yes, we are slowly discussing it.

Kajiura: It feels like there are sprouts now. From the start of “Are we really doing a Live?” to “Finally there is some headway.”

——The two of you have a concrete common ideal, is that so?

Kajiura: We’re still exploring. Such as the overall plot structure for the Live, this is something which we have not discussed that much.

R: Start it like this, and end it like this, and we can make a rather good performance, right? We roughly only discussed this point.

——Which means that areas like the starting point and direction have already been confirmed, and the details for these have to be added in next?

Kajiura: Yes. It feels like I can finally feel the meaning of the two of us holding a Live together.

R: It was just an unclear plan of “The two of us doing something together should be very interesting, right?” at the start after all. The live venue had been arranged, interviews like this have begun, and the human resources around us have already been decided, so I feel that “It’s about time we have to think seriously about this” (smile/laugh).

——This time, large venues “Kobe World Memorial Hall” and “Pacific Convention Plaza Yokohama” were decided on.

R: It’s amazing. However, perhaps Ted bear plushies would be placed in the first row (smile/laugh).

Kajiura: Or the audience are actually all backdrops (smile/laugh).

——Those kind of things probably won’t happen! Then again, why the front row (smile/laugh). To all the fans, even if they know that the two of you have the common point of storytelling, but because the vocal production and soundscape are totally different, they would definitely be interested in what kind of effect will be produced by the two of you performing together.

R: I can’t give too many details, but we are currently discussing about “we need to make everyone feel the meaning of the two of us collaborating”. After all, if we just appear separately and just be responsible for our own staff, it would be meaningless. Therefore, both of us need to inspire each other and have the audience view the results properly.

Kajiura: Because both our fans will be there, the performance will definitely have a separate SH part and Kajiura part, but if we do just that, it wouldn’t be enough after all (smile/laugh). If it’s like this, it would become one of us using half of the time to do our own live, and everyone would leave after seeing the half they want to see.

——Then, it’s almost the end of the talk. Lastly, the two of you, please talk about your future prospects of「Dream Port 2008」.

R: Then I’ll go first……Uh, ……if I don’t say something impactful here, then it’s useless regardless of what I said before. But, it is at this kind of time when I cannot say anything good, Revo is that kind of person (smile/laugh).

Kajiura: Something like discovering that “This can’t be published at all!” after ending the interview, listening to the recording and writing it into a manuscript?

——It won’t be like that (smile/laugh).

R: Alright! Then let’s talk about future prospects. I will do my best, and I am confident that those who came to watch SH will go home feeling satisfied. But this time, it would be meaningless if it only ends up like this. The significance of this Live would be holding it together with Kajiura-san, and if interesting end-products can be made with this pretext. In other words, even if her music fans do not expect anything from me, I hope that after attending this Live, they can go home while thinking “SH is rather interesting too”. And, this is not just the standard of “It would be great if this can be done…”, but the baseline of this Live. If this can’t even be accomplished, then it’s considered a failure, so I will definitely surpass this baseline. I will definitely not waste the fans’ ticket money, this is what I want to say to Kajiura-san’s fans. I will do my best so you can enjoy the other half of the Live!

Kajiura: As for me, since before, I felt that a Live is worth it as long as there is happiness. There’s no need for overly complex thoughts, in the end, just make the people who come to Live enjoy the performances. I hope that this Live can make the audience feel “Amazing! It’s this interesting because these two people collaborated!”, crossing over the boundaries between the groups of music fans, and simply send the message on how interesting music can be. Not because you like one of us, but because the music you hear at any time can make you happy. If this kind of Live can be held, that would be great.

R: It’s our Live, but we can’t be the only people who are working. If the people around us do not think that this is interesting, then we’re just causing trouble (smile/laugh). The two of us just said that we want to hold a Live together, but the problem “So how many people will there be on stage in total.” came immediately.

Kajiura: That’s how it is. I feel so sorry for the person in charge of PA! We have to apologise right now (smile/laugh).

R: The number of staff have to be doubled as well. The labour costs will also double (smile/laugh).

Kajiura: We planned a lot of things we want to try, and in the end, we’ll realise, “Eh, we made a loss?” or something (smile/laugh).

——We’re looking forward to it! Thank you to the two of you for the interview today!

 

Below: My crappy art on what YK and Revo think their songs are like.