Masaki Suda Talks About His New Album 'SPIN'―"Music Is Where I Can Reflect My Thoughts" Masaki Suda, who launched his music career in 2017, released his third album, 'SPIN,' on July 3. The album features 13 tracks. Some are written and composed by Suda himself, and others are collaborations with other artists. We spoke with him about his latest project. Creating Songs That "Color Life" Masaki Suda released his third album, 'SPIN,' on July 3. The album, consisting of 13 tracks, includes collaborations such as "Madou Ito" with Vaundy and "Rurou no Katashiro" with Tokyo Ska Paradise Orchestra. From the diversity of collaborators and song quality to his vocal performance and lyricism, these works showcase Suda's evolution and deepening as a musician. At the same time, the album exudes a certain lightness, making it an intriguing listen. We delved into the secrets behind the year-long production of 'SPIN' and the future Suda's of creative expressions. ── Let’s start with the title, ‘SPIN.’ Did this word exist as a conceptual backbone from the beginning, or did it come about as you worked on the album? It’s the latter. Although I had a vision and direction in mind initially, we eventually settled on ‘SPIN’ as we progressed with the album production. The production began around April 2023, but the idea for this album started to take shape after I performed at the Budokan for the final show of my "Masaki Suda LIVE TOUR 'Quiet Journey'" in February 2023. Since I haven't had as many experiences with live performances, each performance comes with a new challenge. However, being able to fulfill the goal of performing at the Budokan with the team that’s been with me for years led each of us to think, “I want to find the missing piece" and "Let’s try something new." As an actor, my job is to convey the characters' feelings and carry through the theme within each project, acting as a sort of vessel for expression. In music, I find myself drawing from somewhere more personal, picking from what I want to say and convey. However, with 'SPIN,' I focused on external factors. Instead of focusing solely on myself, I centered the groovy sensibilities of my band members to shape the album, receiving a lot of inspiration from them. In the past, for example, I’d base songs on themes like "sadness," focusing on emotions. This time, I aimed for "scenes,” trying to create a one-take vignette in each song. We’d have tea with each collaborator for each song and shape it together, expanding on the points where our conversations intersected. ── You've written many of the lyrics in this album yourself. Did drawing inspiration from external factors bring about any changes? There were moments, for example, with collaborative songs like "Yours" and "Kodamasuru," where the words didn't come as quickly, and I felt stuck. These songs aren't something that can be concluded on their own, either. Apart from those, I remember the lyrics flowing relatively smoothly. ── I noticed various vocal styles as I listened to the entire album. Are there differences or a sense of distance between these "singing styles" and your acting methodology? Well, you can't change your voice itself. However, in this album, I tried to use vocal ranges that I typically don’t sing in. This point also connects to the idea of groove I mentioned earlier, in that I tried to sing in a style that would elevate that vibe on stage. I didn’t just want the typical rock band, frontman-like vocals; I aimed to create a balance where the audience could groove with us. Even when I'm on tour, if I keep performing songs like "Niji" and "Machigai Sagashi" consecutively, it just becomes unsustainable, like eating 20 bowls of Jiro ramen (laughs). I wanted to create songs like vegetables or side dishes alongside those main tracks. That's the image. It's not about eating white rice everytime but mixing in brown rice, too. ── A healthier feeling, so to speak. Yes, "healthy" might have been on my mind. At the start of album production, there was a sense that "we need more light-hearted songs." This is a speculation, but I think people attending my concerts would enjoy that more. Even when I attend concerts as an audience member, I don't necessarily want to be immersed the whole time. I think I was trying to create songs that could reflect the joy of being present without being too rigid. ── I felt at ease listening to 'SPIN,' so your points resonate quite a bit. That's delightful feedback. I've always wanted to create music that "colors life," something that flows through the car speakers during daytime drives rather than a song that makes someone cry alone late at night. Looking back, my previous works leaned more towards the night. ── Is this influenced by current trends or the flow of the music industry? I haven't been paying much attention to it, but there might be some influence since I drew inspiration from recent references. ― ‘SPIN' features a diverse range of creators, but who are the creators on your radar now? Perhaps artists with a sense of "fear." Everyone I talk to is kind, but I tend to be drawn to those solitary figures who you can't easily ask, "How did you make this?" I also like people who enjoy what they do. In terms of fashion, I find myself more in tune with people who make clothes for a living and also love wearing them themselves. In music, some folks love creating while others love performing; I lean more toward the latter type. For 'SPIN,' we commissioned photographer Ryu Ika (an artist from Inner Mongolia, China) to create the album photos. When I met her, she said, "Anyone can take a photo; the real challenge is what you do with it afterward." Her words struck me with a sense of decisiveness and intimidation. Despite her friendly demeanor, there was a fascinating contrast in how she wielded such powerful words in a language not native to her while still feeling like I was conversing with someone from the same generation. ── By the way, how do you usually find and connect with other creators? There’s no way I could do it alone, so I rely on the people around me for help. My team facilitated my meeting with Ryu, and I think relying solely on my antennae would ultimately limit me to the communities I already like. For instance, I consciously try to expand outward by gradually connecting the things that people I like are currently into with my interests. It's always interesting to hear people passionately talk about what they love. The other day, when I met Reiji Okamoto (from OKAMOTO'S), he was strangely wearing a yo-yo and kept talking endlessly about how cool it was right now. I gradually became interested in it, too, and I started to see it as something cool in its own right. ── You took a temporary break from acting at one point, but did this hiatus influence the album's production? Considering how much my living environment changed, I think it wasn't entirely unrelated. However, as I mentioned earlier, I focused mainly on external factors in the production of this album, so I feel like it didn't have a significant impact. That said, there were changes in the vignettes that came to mind while writing lyrics and in the choice of words. ── Acting and music both involve using the heart and expressing oneself, so I'm curious how you balance these. For example, you mentioned earlier that “healthy” was one of the core themes. To be honest, I'm not sure how I manage it. I feel like I'm always just managing to keep it together at the last minute, but if I were to pinpoint one tip, maybe it's not overthinking things. The title ‘SPIN’ also refers to "metabolism" and "circulation" for me. Just like we trim our nails when they get long, life is also about birth, shedding, and repeating these states. I think acting can be thought of within that framework, too. They say cells regenerate every three months, and if I play the same role for three months, I become somewhat of a different person. It's a cycle of immersing myself in one role and moving on to the next, so shedding that old skin is necessary. In that sense, I'm not conscious of it, but as I constantly engender new things, I feel like I'm also forgetting and letting go. Like with family or as a band member, you have to remember certain things, but the rest keeps changing and renewing. ‘Masaki Suda’ doesn’t exist. ──In a previous interview with manga editor Lin Shihei on 'SWITCH Interview Masters' (NHK), you said, “Even if there's something unforgivable within me, I tend to think, "It's okay because it's Suda.” This mindset left a deep impression on me. Since there isn't anyone named 'Masaki Suda,' this persona can easily become a convenient punching bag for myself. There is a person like me, but I think of that person as separate from 'Masaki Suda,' allowing me to remain nonchalant and detached. ── In that case, did you adjust yourself accordingly to external factors like concepts and requests during the production of each song? Or is there a common core identity that serves as the central axis? Right. While there were moments when these axes came closer to each other, there was always a common core. From the outset, this album is composed of songs filled with skills I desired, such as how to capture a particular sound or a specific singing style. In that sense, it became an album centered around “muscles I want to develop within myself.” ── Like recording music or learning through practice in live performances. Speaking of that, you have upcoming concerts in September at Osaka-Jo Hall and Yoyogi National Gymnasium. The venues are much larger than I anticipated, and as someone who creates smaller-scale songs, I wonder how it will feel. But I'm eager to enjoy this luxurious opportunity. I consider everything until the previous tour to be the initial form of Masaki Sugata's music career. Over the past five years, I've gradually grasped how to create live performances as I learn what to prioritize. This time, with band members and production team changes, I’m excited for this spirited, evolved second debut of sorts. ── What drives you toward creation―such as in music? Is it the motivation to acquire skills you wish to develop? In 'SPIN,' there's a drummer named Taihei who was involved in the production, and it wouldn't be an exaggeration to say we made the album together. When I attended Taihei's live performance in the past, it was in an open cafe-like diner, where guests relaxed while eating food and listening to funk and soul played by a live band. Taihei's family was also there, creating this pleasant atmosphere where sounds flowed like background music while standing out in a relaxed and comfortable space. Taihei understands the importance of balancing life with music. That's why I wanted to work with him this time, but there's also a clear sense of what I wanted out of this album artistically that informed the decision. Ultimately, this album is about reaching those places. As an actor, I've also held onto certain things since my teens―where I want to be, what I want to discard―and I've approached my path by building toward those goals step by step. ── So it’s about persevering amidst changes within and around yourself, right? I take plenty of detours, and even if I ultimately change, some aspects remain constant―for instance, envisioning how I want to be when I reach my 60s or 70s. Meeting good friends allows me to paint such images for the future. ── Your discussion of life and music resonates deeply. While upbeat songs are enjoyable, they also expend energy. I felt that this album emphasized a sense of 'lightness.' In that regard, the break I mentioned earlier had an effect. When you’re tired, you rest―it's like healing from a broken bone, so once it’s all healed, there's a sense that I don't need to endure unnecessary hardship. Although my body is healthy, pushing it unnecessarily seems counterintuitive, especially now that I'm in my 30s. In my 20s, I could move vigorously, but if I did that now, I'd break in two to three days. ── You once mentioned, 'Actors immerse themselves in roles, but as a singer, it's scary to step onto the stage with my bare self.' Has that feeling changed? I still have worries and fears regarding the quality of my expression, but my fear of singing and performing live has finally faded. I don’t know if I’m a musician yet, but time has resolved those fears. Plus, it is incredible that many people have become familiar with Masaki Suda’s singing over these years. There are many good things about pursuing a music career. Creating songs also helps organize my thoughts. While I don't think it's necessary to express personal feelings such as 'like' or 'dislike' in roles as an actor, having a place where I can express those sentiments when I feel the urge to is valuable. Alongside that, when we decide to do a live show or to make merchandise, I can engage in things I like in the fashion field, discuss who should draw the graphics or take the photos, and encounter new artists, which feels like a positive cycle. Through music-making, my ears have become more discerning, and my way of listening to and enjoying music has changed, too. It's no longer just about whether someone is good or bad or whether they’d sell―it's about touching areas only understood by those who do it, which I feel is a plus in life. I'm generally quick to get bored, but music provides a space to fulfill the curiosities and interests within me in each moment. ── It’s as though music activities help you stay healthy as an actor. This also reflects 'SPIN (circulation/metabolism),' right? I often write my lyrics in the dressing room, so there might be some overlap. I always have my thoughts outside of my roles, but I can only talk about them in interviews or press releases. Each project I work on comes with tremendous energy, and I’ve always wanted to find a way to shape these internal experiences, so having an avenue to channel these experiences means a lot. It's not for anyone else but me, and I don't know if these outlets are necessary for others, but for me, it's essential to release what’s within me first. It's like my personal diary; turning it into creative work is a blessing. That's why I want to continue improving the quality of my performances. Masaki Suda Born in 1993 in Osaka. Suda debuted in 2009 with Kamen Rider W. He won the 37th Japan Academy Prize for Newcomer of the Year for The Backwater and the 41st Japan Academy Prize for Best Actor for Wilderness. Suda began his music career in 2017, debuting with the single Mitakotomonai Keshiki. His song, Sayonara Elegy, topped the 2018 annual ranking on LINE MUSIC. His November 2020 release, Niji, surpassed 300 million streams. In 2023, he appeared in the films Father of the Milky Way Railroad, Studio Ghibli's latest movie, The Boy and The Heron, and Don’t Call It Mystery. In 2024, he is set to appear in the films The Beast of Comedy and Love You as the World Ends: The Movie FINAL. The film Cloud is scheduled for release on September 27, 2024. The Netflix series Parasyte: The Grey is streaming, and the Netflix series Glass Heart is slated for 2025. Photography by Taro Hirayama Styled by Keita Izuka Make-up & Hair by AZUMA Words by SYO Edited by Keita Takada(GQ) Translation: Leiya Salis