JYOCHO are no strangers to the world of anime. In fact, they're so well-versed in it that they "strive to create a new world by meticulously combining [their] world with the anime world," according to guitarist and composer Daijiro Nakagawa.

With their latest EP, Guide and Devote, the Japanese math-rock act deliver music that was built on the foundation of the title track, which stands as the ending theme for Banished From the Hero’s Party, I Decided to Live a Quiet Life in the Countryside. "We developed the concept for the EP in reverse," Daijiro tells Bandwagon. "As for the remaining three songs, I expanded upon thematic seeds such as 'memories' and 'future visions' to craft the EP."

JYOCHO meticulously craft their songs together, focusing on how they can create a chemical reaction between the world of JYOCHO and the fantastical worlds they offer their music to. This year, they look forward to doing more tie-ins and commercial work as they send off their music out into their world. "I’m committed to showcasing that side of us," Daijiro says. "I am already planning a lot of things, so please stay tuned."

Bandwagon caught up with JYOCHO to run through the songs off their latest EP, Guide and Devote, the stories behind each track, and the challenges they faced in bringing the EP to life.

'Guide and Devote'

Daijiro: I was very particular about the guitar sound. I redid the miking many times, paying close attention to the balance between the clean, upfront sound, and a more natural tone. I created this song, with the lyrics and vocals in mind imagining how happy I would be if a song like this was played in the anime Banished from the Hero's Party, I Decided to Live a Quiet Life in the Countryside.

sindee: It’s the lead track of this EP. The song progresses along with the hand clapping while the band blends irregular time signatures. Our audience clap their hands at our live shows, and the word "Hand-Clapping University" has been coined because of the challenging nature of synchronising claps with our songs. The only way to master the hand-clapping of 'Guide and Devote' is to enrol at the university. As for the bass, I boldly arranged my part to infuse cheerfulness without overshadowing the melody.

Netako Nekota: In this track, the clap in the intro continues all the way to the end. If you just clap, it’s easy—but when the band’s different parts start to blend in, clapping suddenly gets very challenging. For the recording of the clapping, Daijiro, Yuuki, and I joined. The other two were clapping perfectly, but I got fairly confused and went out of rhythm sometimes…(of course we used the successful takes for the final audio.) I’m still learning a lot at the Hand-Clapping University! Recently, our audience can clap perfectly at our live shows for another song called 'pure circle'. I’m wondering if they can also master the clapping for 'Guide and Devote'...from that perspective, I’m looking forward to performing this song live.

Yuuki Hayashi: Since everyone has talked about the song... This was the first song JYOCHO shot for a music video with these five members, and it was quite cold and challenging on the day of shooting. But it was a great location and we had a wonderful ambience the whole time, and I think it turned out to be dope.

There was a scene in the middle of the video where we were chatting around a lamp, and the director often tells us to talk about whatever we want in such situations, and we were really having a good time talking about trivial things, lol. Please check out the music video as well.

Kojiro Yamazaki: This marks my debut recording as JYOCHO. Initially, Daijiro had laid down the foundational drum phrases, and together, we brainstormed ways to amplify their impact throughout the song’s development. Within the complex rhythm, numerous intricate phrases are woven together, so I encourage listeners to experience the full depth of the composition by turning up the volume.

'ex human'

Daijiro: The lyrics are about our future and what we could recognise today. I wanted to play refreshing guitar phrases during live performances so I incorporated overdrive sounds throughout the song, lol.

sindee: This song is a lighter rock piece within JYOCHO’s repertoire. It’s been some time since we’ve explored this style, with consistent overdrive tones in both the guitar and bass throughout the song. Netako’s vocals bring a fresh, powerful dimension. While the bass may seem unfettered, it perfectly syncs with the drums.

Netako Nekota: I was really shocked by the title of this song when I received the demo. The track seemed to pave new creative territory for us, prompting me to push the boundaries of my vocals. I aimed to deliver emotionality to its fullest extent, opting for head voice, which might be coarse, instead of relying on falsetto even in sections where I normally want to vocalise beautifully. Even when I was satisfied with my performance, Daijiro had higher expectations and pushed me to record until I was practically breathless, which was such a memorable experience, lol.

Yuuki Hayashi: The overdrive sound of the guitar in the intro somehow evokes a nostalgic sensation, like reminiscing about the past. Or is it only me? Haha,
Bittersweet yet heartwarming—this song has that kind of ambience.

Kojiro Yamazaki: The drums part was so difficult to the point that I felt like I ceased to be a human after I played, but I managed to keep my human form. It seems like a looped phrase, but there are parts I added or subtracted the drum sounds, so please enjoy how my part is resonating with the other instruments.

'A Flourished City'

Daijiro: I wanted a cool piano piece, so I created this progressive and emotional piece. Good luck Nekota!

sindee: The impact of the piano is stunning, but the way each instrument is meticulously intertwined in this song is just mesmerising. There will always be a new discovery everytime you listen to this song, so I hope you enjoy this song again and again. The bass has almost no looped phrases and is polyrhythmic at key points.

Yuuki Hayashi: Oh man, it was challenging! Personally, this was the most difficult song to record.

In terms of the flute, the sound range is just so high. I played really high notes that I rarely play. The arrangement of the same phrase as the piano in the intro repeats in the outro with the other band parts blending in is a point that makes me smile.

Kojiro Yamazaki: I sat still and built up the beats. I was amazed at Daijiro’s imagination when he constructed the phrases polyrhythmically. Seriously, well done Daijiro.

'Counting Planets'

Daijiro: As we live, we encounter realisations each day, and there are moments when these individual ‘dots’ unexpectedly connect to form ‘lines.’ This song explores the pursuit of recognising such cycles, often overlooked in our daily existence. Yet, it’s a mere fragment of boundless awareness, and we die unknowingly, so this song is a bit bittersweet. I paid a lot of attention to the balance of sounds for a beautiful ensemble.

sindee: The song is like, “This is THE JYOCHO.” It boasts the melodic beauty of each instrument, and I particularly like the flute. The bass is also within the same chord in this song, but there are few looped phrases, so for the first time, I recorded it with a musical score. Hope you can feel the expressions of the song like the seasons that change little by little.

Yuuki Hayashi: JYOCHO’s slow and mellow songs may seem simple with fewer notes, but they are super challenging to play. I focused on achieving a gentle, soft, and elongated sound with the flute. In these JYOCHO songs, the flute parts often feature sustained tones. But I carefully consider factors like note duration, the effortlessness in sounds, and the ambience of breath. I need to practice hard to express this music freely in live performances.

Kojiro Yamazaki: There are many delicate phrases, so I played with great care. I think the nuances I wanted to bring out fit well while valuing the sound of the cymbals. I hope you can feel the sparkling moves within this dynamic world of the song.