英語翻訳 Jimmie Soul

CHIBA-CHIIIBA has just released his first Beat album "REPEAT THE EXPERIMENT".
Mother Moon interviewed CHIBA-CHIIIBA exclusively about his personal history, the background of his hit 45 release, and his favorite works.


質問者 Asahi Kurata (以下A)

Questioner: Asahi Kurata (A)
Please tell us your age, address, main area of activity, and how you started making beats.

ビートメイクを始めたきっかけ はHP HOPを聴いていくうちにサンプリングという手法に興味をもって、自分なりのJazzやSoulの良い箇所を切り取って作ってみたい!という気持ちになってMPCを買って作り初めました。
I am 38 years old (as of 2021), live in Tsuchiura City, Ibaraki Prefecture, and my main area of activity is Tsuchiura, Tsukuba, and Tokyo.
The reason why I started making beats is because I was interested in the sampling method while listening to HP HOP, and I wanted to cut out the good parts of Jazz and Soul and make my own! So I bought an MPC and started making music.

A. MPCを買ってビートを本格的に作り始めたのはいつでしょうか?
音源を聴いたら90sのいわゆるHip Hop黄金期のビートをイメージしたのですが、 特に影響の受けたビートメイカーを挙げるなら誰でしょうか?

A. When did you buy the MPC and start making beats in earnest?
When I listen to your music, I can feel the vibes of the 90s, the golden age of Hip Hop.
Who are some of the beat makers that have influenced you?

C. 本格的にビートを作り初めたのが22歳の時です。
影響の受けたビートメイカーは、Buckwild、Showbiz、Jay Dee a.k.a. J Dilla. Beatnuts、People Under the Stairs、Madlib、Pete Rock、Grap Luva、DJ Spinna、MF Doom、Da Beatminerz.
C. I started making beats when I was 22 years old.
Some of my influences are Buckwild, Showbiz, Jay Dee a.k.a. J Dilla, Beatnuts, People Under the Stairs, Madlib, Pete Rock, Grap Luva, DJ Spinna, MF Doom, Da Beatminerz.

A. ビートメイクの機材は何を使ってますか?
好きなHIP HOPアルバムを教え下さい。
勿論今の気分もあるかと思いますし、墓場まで持ち込み作品もあると思います。 その中で特に好きな曲を三曲挙げるならば?

A. What kind of equipment do you use for beat making?
What is your favorite Hip Hop album?
Of course, there are some that you are in the mood for, and there are some that you will take to your grave. If you had to pick three songs that you particularly like, what would they be?

C. 使用している機材はMPC3000.MPC2000XL.SP-1200.S950.SP-404です。

好きなHIP HOPアルバムは
1. Madvillain/MF Doom & Madlib
2. Stepfather/People Under The Stairs
3. Fan-Tas-Tic Vol 1/Slum Village
4. Push Comes To Shove/MED
5. Center Of Attention/I.N.I
6. Runaway Slave/Showbiz & A.G.
7. Word...Life/O.C.
8. Midnight Marauders/A Tribe Called Quest
9. The Beatnuts/Beatnuts です。


1. Never Give U Up/MED
2. Eat Street/People Under The Stairs
3. Estimate/Slum Village になります。  
C. I use the MPC3000, MPC2000XL, SP-1200, S950, and SP-404.

What is my favorite HIP HOP album?
1. Madvillain/MF Doom & Madlib
2. Stepfather/People Under The Stairs
3. Fan-Tas-Tic Vol 1/Slum Village
4.Push Comes To Shove/MED
5.Center Of Attention/I.N.I
6.Runaway Slave/Showbiz & A.G.
7.Word.... Life/O.C. 8.
8.Midnight Marauders/A Tribe Called Quest
9. The Beatnuts/Beatnuts.

A. お住まいの茨城県は私の住んでいる長野県に比べれば都会と思いますが、東京や神奈川などに比べるとやはり地方かと思います。そんななか周りには同じようにBeatをつくっていた仲間はいたのでしょうか?
A. Your Ibaraki prefecture is more urban than my Nagano prefecture, but compared to Tokyo and Kanagawa, it is more rural. Did you have any friends around you who were also making beats?

C. 最初はやはりBeatを作る人どころかHip Hopも好きな人は全くいなかったです。
C. At first, there was no one who liked Hip Hop at all, not even people who made beats.
I was DJing before I started making beats, so I gradually got to know people who were making beats as I did.
Even so, there were not many people who were making beats.

A. 地方の共通点がありますね。 当時のHip Hopを開拓するにあたってはどのようにしてましたか?
私も当時の住まいは”村”だったので、情報はほとんどなく今よりもインターネットの普及もイマイチだったように思います。 音楽に敏感なファッション誌のわずかな音楽コーナーから情報を拾ったり、DMRやマンハッタンレコードのメールカタログなどから情報を集めてました。

A. There is a commonality between the local areas. How did you go about developing Hip Hop at that time?
I lived in a "village" at the time, so there was very little information available and the internet was not as popular as it is now. I picked up information from the small music sections of music-oriented fashion magazines, and from the mail catalogs of DMR and Manhattan Records.
How did you actually gather information and collect music (analog, etc.)?

C. やはり地方の方は共通点は一緒ですね 笑
当時は全然開拓する気もなくひたすら家でDJの練習をしたりBeatを作ったりしていました。 いわゆるオタク系ですね 笑 今でもそうなのですが。
 それで、たまにDJの誘いを受けた時にPlay後に同じようなのが好きな方が話しかけてくれたりしてそれが広がっていって仲間がどんどん増えた感じです! あと知人の紹介でしたり、 あと自分はHip Hopの人達よりもJazzやSoulのDJの人達とやっていたのでまた違った路線からHip Hopをやっていました。
自分も実家は今だに町だったり隣りが村だったりします 笑
 Kurataさんとほぼ同じでDMRやシスコやマンハッタンからの情報で集めていました! あとやはりラジオのHIP HOP JOURNEY DA CYPHER を聴いてですね。
 当時東京の大学に通っていた兄貴がいまして兄貴もHip Hopが好きだったもので気になったレコードは頼んで買ってきたりしてもらっていました 。 あとは地元から1番近い千葉の柏のユニオンに行ってジャケ買いをするという買い方ですね 笑
C. After all, people from rural areas have the same thing in common.
At the time, I didn't have any interest in exploring the area, so I just practiced DJing and made beats at home. I was what you would call a geek. I'm still a geek. Hahaha.
Then, when I was invited to DJ, people who liked the same kind of music would talk to me after I played, and it spread, and my friends kept growing! I was also introduced by an acquaintance, and since I was playing with Jazz and Soul DJs rather than Hip Hop people, I was playing Hip Hop from a different perspective.
My parents' house is still in a town or a village next to mine.
I've been collecting Hip Hop records from DMR, Cisco, and Manhattan, just like Kurata-san! I also listened to Hip Hop Journey Da Cypher on the radio.
I had an older brother who went to college in Tokyo at the time, and he also liked Hip Hop, so I would ask him to buy me records that I liked. Also, I would go to the Disk Union in Kashiwa, Chiba, which is the closest place to my hometown, and buy with only an impression from the jackets.

A. 22歳からBeatをつくっているとお聞きしましたが、レコードを購入するのはもっと前からと思います。 Hip Hopに入り込んだのはいつごろで、何がきっかけでしたか? 当時情報が少ないなか22歳からのBeatメイクは比較的早かったと思います。
A. I heard that you've been making beats since you were 22, but I think you started buying records even earlier. When did you first get into Hip Hop, and what was your trigger? There wasn't much information available at the time, but I think I started making beats at the age of 22, which was relatively early.

C. Hip Hopに入り込んただのは12歳の時です。
4つ上の兄貴がいましてちょうどそのころ洋楽を聴くようになりまして、その時自分も一緒に聴いていたらA Tribe Called Quest 『Midnight Marauders』のCDを買ってきてこんなかっこいいHip Hopがあるんだと衝撃を受けたのがきっかけでハマっていきました。
C. I got into Hip Hop when I was 12 years old.
I have a brother who is four years older than me, and he started listening to foreign music around that time, and when I was listening to it with him, he bought me a CD of A Tribe Called Quest's "Midnight Marauders," and I was shocked that there was such cool Hip Hop, and that's when I got into it.
I didn't know how to use the MPC and there was no one to teach me, so I was just trying to make cool beats by myself.

A. 12歳となると小6か中1ですね! メチャクチャ早いと思います! というか逆算して1995年。1、2年の誤差はありまがA.T.C.Q.がほぼリアルタイム!
兄が音楽の教師だったってことですね。 まず当時の同年代てでは音楽の話しはあわないですよね?
また確か当時はスケボーも流行ってたような。 ハードコア、メロコア、ミクスチャー系のバンドは聴きました? 自分はそっち方面からBeastie Boys→Q-tipやネイティブタンでした。懐かしいですw
 A.T.C.Q.からのHip Hop一筋でしたか?

A. 12 years old, that would be 6th grade of the elementary school or 1st grade of the junior high school! I think that's really early! I mean, I counted backwards to 1995, give or take a year or two, but A.T.C.Q. was almost real time!
That means your brother was a music teacher. First of all, we were the same age at the time, so we wouldn't have talked about music, right?
Also, I think skateboarding was popular at that time. Did you listen to any hardcore, melocore, or mixture bands? I went from Beastie Boys to Q-tip and Native Tan. I miss those days.
Were you into only Hip Hop from A.T.C.Q.?


C. 兄貴のおかげで早くから聴く機会に恵まれました!黄金時代と言われてる90年代をリアルに聴けたのが財産だと思っています。
スケボー流行っていましたね!あと軍手も流行っていてスケーターがみんな軍手してました 笑 こっちだけなのですかね?
周りの友達がみんなハードコアやミクスチャー系を聴いてました。 自分は全然興味なくて嫌々聴いてた思い出があります 笑
 自分はHip Hopも聴いてましたがミスターチルドレンやSMAPなどのJ-popもその当時は普通に聴いていました!
C. Thanks to my brother, I was blessed with the opportunity to listen to it early on! I consider it my fortune to have been able to listen to the 90's, which is considered the golden age, in real life.
Yes, we didn't talk to each other at all at the same age.
Skateboards were all the rage! Also, working gloves were popular and all the skaters were wearing them.
All my friends around me were listening to hardcore and mixture music. I wasn't interested in it at all, and I remember disliking it.
So that's how it went for you, Kurata-san!
I used to listen to Hip Hop, but I also listened to J-pop like Mr. Children and SMAP back then!

A. 軍手w こっちだとスケーターではなくてちょっとチンピラな(古い言葉でチーマーw)輩がポケットに軍手いれてましたね。 今考えると面白いですね。
 自分の周りではスケボービデオのBGMからCDを探してました。兄がそのビデオやCDを持っていたので、その影響は大きかったですね。 ビデオに曲名まで出てたのでそのバンドからレーベルを漁ってました。というか平安堂とか有名デパートのCDショップの売れてない輸入盤コーナーになぜかCDが残ってました。
メロコア・ハードコア→ミクスチャー、スカ・レゲエ系のバンド→オーセンティックなスカ・ロックステディ・70sレゲエ→田舎だから買えない→ミクスチャーながれでFunk(JBまたはJBファミリー関連くらいしか売ってなかった)ってルーツでした(20歳ちょうどくらい) そのタイミングで20半ばくらいの都会帰りなどの仕事上の先輩もいて色々と教えてもらったって感じでしたね。
ミクスチャー感覚なものは10代からでその流れで他ジャンルの融合したFusionや当時なに?ってワードの『レアグルーヴ』に自然に流れていきました。 10代のときは友人から教えもらうことはなく、ちょっとした雑誌切り抜きや音楽誌でのわずかなコーナーを集めてました。
J-Popは中学までは聴いてましたが高校ではほとんど聴かなく、兄の渋谷系なCDを拝借してました。 いま考えるとヤベー奴ですw
 Hip Hopを意識したのはファンクの逆追いで、サンプリングされてる!って面白いという感覚でした。 当時はラップの乗ったFunkやJazz音楽という解釈でしたね。サッカー日本代表がワールドカップに初出場したとき(1998年)にStones Throwの『Funky 16 Corners』を聴きまくっただったような...。
BreakestraのテープからガッツリHip Hopに入り込みました。

 すみません長くなってしまいました。 話をもどしますね SP1200はいまや90sの名機ですが、購入するルートも困難だと思います。思い入れや購入に動機、購入ルートなどお聞きできればと思いますがいかがでしたか?

A. Working gloves w. Here, it's not skaters, but a little bit thuggish (old word is "teamer") people had working gloves in their pockets. It's funny to think about it now.
Around me, I used to look for CDs from the background music of skateboarding videos. My brother had the videos and CDs, so that had a big influence on me. I even found the name of the song in the video, so I started searching for the label from that band. Or rather, somehow the CDs were left in the unsold import section of the CD store at Heiando or other famous department stores.
I was about 20 years old. At that time, I had a senior colleague who was in his mid 20's and had returned from the city, and he taught me a lot.
I've been listening to mixtures since I was a teenager, and that led me to Fusion, which is a fusion of other genres. I naturally drifted towards Fusion, which is a fusion of other genres, and Rare Groove, which was a word that I had no idea what it was at the time. When I was in my teens, I didn't learn about it from my friends, but collected little magazine clippings and a small section in a music magazine.
I listened to J-Pop until junior high school, but in high school I rarely listened to it, borrowing my brother's Shibuya-style CDs. Now that I think about it, I'm a pretty weird guy.
Around the age of 20, I started going to Tokyo on business trips to get records, and many of the members of my work group were DJs, and they taught me how to buy records (DMRs, etc.).
I was aware of Hip Hop because it was a reverse of funk, and I found it interesting that it was sampled! I thought that was interesting. At the time, I interpreted it as Funk and Jazz music with rap. When Japan's national soccer team played in the World Cup for the first time (1998), I listened to Stones Throw's "Funky 16 Corners" a lot.
I got into Hip Hop with a bang from the Breakestra tape.

I'm sorry it took so long. The SP1200 is now one of the best machines of the 90s, but I think it is difficult to find a way to buy one. I would like to ask you about your feelings about it, your motivation for buying it, and the route you took to buy it.

C. そうでしたか 笑やはり軍手が流行っていたんですね 笑 とても面白い道筋ありがとうございます!人それぞれの聴いてきたものは違うのでとても楽しいです!
最初はボタンが潰れて使えない部分があったので SP-1200に音を取り込んでMPCに落とすことをやっていたのですがボタンの洗浄をやってもらいましたら全てのボタンが使えるようになって今はSP-1200のみでもBeatが作れるようになりました。
ただやはりデリケートな機械なので手を焼きますね 笑
C. I see... lol, I knew the working gloves were in vogue... lol, thanks for a very interesting story! It's so fun to see how different everyone's listening experiences are!
I bought the SP-1200 when I was 24 years old, but I really wanted to use it. I bought it at auctions on Yahoo! At that time, the average price was around 180,000 yen, but I got it for 130,000 yen a little cheaper.
At first, some of the buttons were crushed and could not be used, so I had to import the sound into the SP-1200 and drop it into the MPC, but after I had the buttons cleaned, all the buttons became usable, and now I can make beats using only the SP-1200.
But it's still a delicate machine, so I have to be careful with it.

A. 日本語の取説もなかったと聞きますが、使いこなすまで苦戦しましたか?
ここ日本でガッツリSP-1200をSNSに掲載しているのはCHIBA-CHIIIBAさん含めほとんどいないですね。 海外からのコメントや問い合わせもいかがしょうか? というか見るだけで興奮します笑

A. I heard that you didn't have a Japanese instruction manual. Here in Japan, there are very few people, including CHIBA-CHIIIBA, who are posting the SP-1200 on SNS. How about the comments and inquiries from overseas? I mean, I get excited just looking at it lol. 

C. SP-1200は使い方がとてもシンプルなのでMPCを使っている人であればすぐに使いこなせると思います。
弁当箱みたいでインパクトありますね 笑
C. SP-1200 is very simple to use, so I think anyone who uses MPC can master it right away.
I get a lot of comments from overseas! But I haven't had anyone ask me to rap on this Beat yet, so I'd like to try it with a cool foreign MC someday.
It looks like a lunch box. It's got a big impact.

A. やはり海外からの評判も良さげですね!
その流れでお聞きしますか?、 CHIBA-CHIIIBAさんの存在感を世に知らしめ、出世作品ともいえる7inchはどのような経路でリリースされたのでしょうか?
前々からCHIBA-CHIIIBAさんを知っている方はいたと思いますが、いきなり海外MC、しかも『Stones Throw』の看板MCのひとりでもあるGuilty Simpsonをフューチャーし、世の中の度肝を抜かせました。

A. It looks like you've got a good reputation overseas!
Can I ask you something in that vein? In that vein, I'd like to ask you how you came to release the 45, which can be called your first work and made your presence known to the world?
I'm sure there were people who knew about CHIBA-CHIIIBA for a long time, but you suddenly surprised the world by featuring an overseas MC, Guilty Simpson, who is also one of the signature MCs of Stones Throw.
It would be great if you could tell us more about that.

C. Guiltyとやることになった経由ですが、 Kurataさんもご存知かと思いますが、【DJ Yama】さんという方と2人でFMつくばというローカルRadioでDJMIXの番組をやっていた時があったのですが、その時にデトロイトに住んでいる日本のDJの方からメールをいただいてそれを機に仲良くなったのですが、その方がデトロイトのHip Hopグループ 5th Elementz (Jay dillaのプロデュース.Proofが在籍していました。)のDJの方と一緒に活動していてお互いのラジオにMIXを提供しあったりして仲良くなりました。

(CHIBA-CHIIBA氏の心地よいSoul、R&B MIX!! DJとしてもメチャクチャ素晴らしい!!)

 そんな時に今回リリースさせてもらった【暁-AKASTUKI LABEL (Twilight City Records) 】から曲を出さないかと言ってくれていましてMCはどうする?ってなった時にできるなら外人とやってみたいと思っていました。
デトロイトに無名なMCでも構わないからかっこいいMCいたら紹介してもらおうと思って相談してみたのです。 最初にBeatを渡しておいたのですが、そのBeatを聴かせたら「このBeat聴いて真っ先に思ったのがGuilty Simpsonが良いと思うよ!」と言ってくれて、思いもよらないビックネームだったのでビックリしたのですがこんな機会はないと思って紹介してもらいあの作品に繋がりました。
C.Here's how he came to rap on this song.
As you may know, Kurata-san, DJ Yama-san and I used to have a DJMIX show on a local radio station called FM Tsukuba.
At that time, I received an e-mail from a Japanese DJ who lived in Detroit, and we became friends. He was a DJ for the Detroit Hip Hop group 5th Elementz (produced by Jay dilla.) Proof was a member of the group), and we became friends through our mutual mixes for each other's radio shows.

That's when they asked me if I wanted to put out a song from AKATSUKI LABEL (Twilight City Records).
When they asked, "Who will be the MC? I told them that if I could, I'd like to work with a rapper from overseas.

I asked my friend if they could introduce me to any cool MCs in Detroit, even if they were not well known. I gave him the Beat, and when I played it to him, he said, "The first thing I thought of when I heard this Beat would be Guilty Simpson! I was surprised because he was a big name that I hadn't thought of, but I thought I wouldn't have this opportunity, so I asked him to introduce me to Guilty Simpson, which led to that song.

A. 彼らはデトロイトの優良レーベルFNRからのリリースされてましたね。 すごい繋がりですね。
 ビートもヤバい仕上がりでしたね。 DJが使いやすいようなド頭 (The O'jaysの定番ブレイク「Give The People What They Want」をアップデートしたような) と、Gang Starrの「Take it Personal」を彷彿させるアノ質感のドラム。 どれをとっても素晴らしくまさに2020年代の日本人ビートの名曲と思いました。決して大袈裟なコメントと思ってません!
暁レーベルさんの活躍も大きかったと思います。海外へのプロモーションまでやってプレス枚数を増やしたらもっと世界的セールスができたとおもいます。 多くの人が『これは「Take it Personal」の現代版だよ』感じたはず。 世界的にも「Take it Personal」の人気は根強く、それほど今回のビートは印象強かった。 それにGuilty SimpsonのMCって鬼に金棒じゃんってw
Guilty Simpsonとのやり取りは自身で行ったのでしょうか?

A. They were released by FNR, a good label in Detroit. That's a great connection.
The beat was badass, too. The DJ-friendly head (like an updated version of The O'jays' classic break "Give The People What They Want") and the anodyne drums reminiscent of Gang Starr's "Take it Personal". All in all, I thought it was a great Japanese beat song from the 2020s. I don't think I'm exaggerating!
I think that the work of the AKATSUKI label was also very important. I think it would have sold more copies worldwide if they had done more overseas promotion and increased the number of copies pressed. I'm sure many people felt that this was a contemporary version of "Take it Personal. The popularity of "Take it Personal" is still strong worldwide, and this beat was very impressive.
Also, Guilty Simpson's MC was a match made in heaven.
I also felt the care that the DJ took with the sound material before the MC came on.
I think it's luck to make the most of connections and opportunities, or perhaps luck is also a skill, and it's the result of your steady efforts up to that point!
Did you communicate with Guilty Simpson yourself?


C. そうです!ほんとに良い繋がりが出来たなと嬉しく思っています。 嬉しいお言葉ありがとうございます!
 まさしくあのBeatはGang Starr「Take it Personal」を意識した自分的「Take it Personal」で作りましたw
あのBeatは20代後半に作った過去のBeatなのですがストックの中の一つでしてAKASTUKI LABELがストックを色々聴いた中あの曲を選んでくれたのです。 最初の出たしは元々スネアが入らないバージョンだったのですがここにエフェクト使ったスネア入れたら二枚使いで生えますよと言ってくれたので入れたらやはりいろんな方が二枚使いのポイントとして使っていただいて嬉しい気持ちです。
 Guilty Simpsonとのやり取りは自分は英語ができないのでデトロイトに住んでいるDJの日本人の方に通訳をお願いしてやり取りしました。
C. Yes! I'm really happy to have made a good connection. Thank you for your kind words!
I made that beat with my own "Take it Personal" in mind, just like Gang Starr's "Take it Personal". So I'm very happy to hear you say that!
That beat is one of my past beats that I made in my late 20's, but it was one of my stock songs, and AKATSUKI LABEL chose that song after listening to a lot of my stock. The first version that came out was the one without the snare on start point, but they told me that if I put the snare with the effect here, it would grow in two pieces, so I put it in, and I'm glad that many DJs are using it as a point for two pieces.
I don't speak English, so I asked a Japanese DJ who lives in Detroit to translate for me when I talked to Guilty Simpson.

A. アノ7”の背景まで聞けるのは嬉しい限りですね。 ストックされたヤバいBeatがまだまだありそうですねw
まず気になったのがCDの構成です。 自分が感じたのが、CD1枚60分として全46曲。1曲を単純計算で平均したら1:30秒。 Knxwledgeのアルバムと同じように短く構成され、さらには曲間も無かったりナレーションを入れたりとBeatミックスCDと感じたのが最初の印象でした。
コノ手法は意図してつくったのでしょうか。 個人的にはコノ手法がメチャクチャ良かったです。 

A. It's great to be able to hear the background of that song. I'm sure there's still a lot of awesome beats left in the stock.
Now I'd like to ask you about your latest Beat work.
The first thing that caught my attention was the format of the CD. I felt that if each CD is 60 minutes long, there are 46 tracks in total, and if you do a simple calculation, each track averages 1:30 seconds. My first impression was that it was a beat mix CD, with the same short structure as Knxwledge's album, no pauses between songs, and a narration.
I wonder if this method was intentional. Personally, I liked this method a lot.

C. この手法は意図的にしました! 一つのBeatを長く聴かせるよりもちょっと聴きたりないぐらいで次々と行った方がすんなりと聴けるのではないかと思い今回のような感じにしてみました。
C. This method was intentional! I thought it would be easier to listen to one beat after another, rather than having the listener listen to one beat for a long time.

A. ショートなBeat展開するのは代表的なBeatメイカーとしてはRas Gの『Raw Fruit』シリーズ、J Dilla『Donuts』、Knxwledge『1988』あたりで、それらの手法を使った日本Beatメイカー作品という感じですね! 秀逸です。 冒頭で回答もらった好きなBeatメイカーの影響もありつつ自身の色もでている作品と感じました。
A. Short beat development is typical of beatmakers such as Ras G's "Raw Fruit" series, J Dilla's "Donuts", Knxwledge's "1988", etc. It's like a Japanese beatmaker's work using those techniques! It's excellent. I felt that this work was influenced by my favorite Beatmakers as answered at the beginning, but also showed my own colors.


個人的にこれはやられたってのがHubert Lawsの「Family」使いのBeat。 ベースの音の組み替えが素晴らしく興奮しました。 川崎燎さん使いのようなまんま使いも多分皆んなは好きだと思いますが (わかりやすくて)、「Family」使いのようなクリエィティブなチョップの仕方はサンプリングアートのひとつと思います。
今回の作品は今まで作り溜めたBeatを構成した作品集とおもいますが、いつくらいから作ったものか、また特に気に入っているBeatを教え頂けますか? またその曲の思い入れも聴けたら幸いです。

Personally, I was impressed by Hubert Laws' "Family" beat. The recombination of the bass sounds was amazing and exciting. I'm sure everyone likes the way Ryo Kawasaki used it (it's easy to understand), but I think the creative way he used "Family" is one of the best sampling arts.
This album seems to be a collection of beats that you've made over the years, but could you tell us how long you've been making them, and which ones you particularly like? I'd also like to hear your thoughts on those songs.


C. 『Family』ネタのBeatを取り上げていただきとても嬉しいです!地味ではあるのですがバラシと組み立てがとても上手くいった作品なのでとても気に入っています。
Beat集自体は6年前くらいから作っていたのですが何回も止まってはやってを繰り返してこれを出さないと次の作品はだせないという気持ちで今回やっと完成させることができました 笑
 特に気にいっているBeatは「BEAT26」になります(再生のトラックですと25の曲になります。) この曲は6年前に作った物なのですが、ピアノ使いは自分の中ではとても難しいと思っていまして、中々自分の納得がいくピアノネタの曲が今までで作れなかったのです。元ネタがヨーロッパのピアノトリオを使っていてるのですが曲自体はそんなにたいした曲ではないのですが、それを上手く組み立てることができて今までで1番納得のいくBeatができたのを覚えています。
C. I'm very glad that you picked up the Beat of "Family" stuff! It's not a very simple piece, but I really like it because it's a very well done piece of dissection and assembly.
It's one of my favorite things to do, and I'd like to keep doing it.
As for the Beat itself, I put together the ones I liked from the oldest one 12 years ago to the nearest one 3 years ago.
I've been working on the Beat collection since about 6 years ago, but I kept stopping and doing it again and again.
The beat that I especially like is "Beat 26" (or 25 in the playback track). This song was created 6 years ago, but I thought it was very difficult to use the piano in it, and I couldn't create a song with a piano sound that I was satisfied with until now. The original song is based on a European piano trio, but the song itself is not that great, but I was able to put it together well, and I remember that I was able to create the most satisfying beat so far.
This song became the inspiration for this Beat collection album.

A. ウワモノのピアノの切りはりがとてもメロディアスでありつつも、レコードのノイズのループ、ドラムの質感もヤバく、秀逸なトラックですね!! 格好良い!!
私自身Beatを作るわけではありませんが、 既に頭でイメージしたものを作り上げるのか、気に入ったループを作った後にイメージするのか、本当にてきとうに作るのか。

A. This is an excellent track, with a very melodious piano chopping, but also a loop of record noise and a dope drum sound texture! It's great!
By the way, I was wondering how you make your beats.
I don't make beats myself, but I'm wondering if you make beats from an image you already have in your head, or if you imagine it after you've made a loop you like, or if you just make it up as you go along.
I guess it depends on the time and place, but what style do you follow?

C. 頭の中にこのネタを使うならこうゆうのにしていきたいとうイメージをして作っています。 でもイメージと違かったりすることもあるのでその時は色々いじくってみてまた新たなイメージを作って組み立てていくようにしています。
C. I have an image in my head of what I want to make if I'm going to use this stuff, and then I make it. But sometimes it's not exactly what I envisioned, so I try to tweak things and create a new image.

A. インスタでも定期的にBeatがアップされてますが、どのくらいのペースで制作してますか?1曲何日かかるかなども含めお聞きしたいです。
A. You upload your beats regularly on Instagram, but how fast do you work on them?

C. 1週間で表しますとその時によっても色々なのですが3〜4曲あたりになると思います。
C. It depends on the time of the week, but I think it's around 3 to 4 songs.
Some songs can be done in about three hours, while others may take three to four days because I want to refine them.

A. 定期的にアップされるCHIBA-CHIIIBAさんのインスタもチェックしようってことでw 逃さず聴くには要フォローですねw
A. You should also check CHIBA-CHIIIBA's Instagram, which is uploaded regularly.


I was also curious about the comment on the product details of this CD.
Who is "TERRY GONZALEZ jr. and his beautiful bag-carrying assistant CATERINA"?
Who is "CATERINA"? I'm afraid I don't even know if she's famous, but she's too mysterious. The narration is also a mystery, whether it's a story from the record or recorded for this CD.

C. TERRY GONZALEZ jrとCATERINAは自分が作り出しました架空の人物です 笑
なのであの声はレコードから引用させていただきました 笑
C. TERRY GONZALEZ jr and CATERINA are fictional characters that I created.
So I took their voices from the record.

A. 笑 謎が解けました。
ナレーションまで入れて、曲の展開が早く、まさにミックスCD!! クロスフェードで曲が展開しないからDJプレイも考慮した構成。しかも曲順もよくできてますよ!!


A. lol The mystery is solved.
It's a mix CD, with narration and fast song transitions! The songs don't unfold in a crossfade, so the composition takes DJ play into account. And the track order is well done!
It's a wonderful work of thoughtfulness.

CHIBA-CHIIBA, thank you very much for this interview.

C. ありがとうございました
C. Thank you very much!

CHIBA-CHIIIBA『REPEAT THE EXPERIMENT』を購入していただいたお客さま限定のプレゼント(条件あり)

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