REHEARSAL & PRACTICE
Rehearsal for us is where writing actually becomes real. Things don’t arrive finished. They get pulled apart, played, changed, left alone, and picked up again over time.
We move back and forth constantly. We write for a while, mull it over, play it, change it, then let it sit before coming back to it again. There’s no set timeframe and no expectation of when something should be finished. The material is ready when it’s ready, and getting it there is part of the work.
REHEARSAL VENUES
Most of this happens in small Tokyo rehearsal rooms.
The spaces are tight, reflective, and volume-limited. You don’t get to rely on loudness or atmosphere to carry an idea. If something feels unclear or unstable in those rooms, it usually means it isn’t ready yet.
Because time is booked and finite, rehearsal stays focused. We’re not trying to rush outcomes. We’re giving ideas repeated chances to either take shape or fall apart.
SCHEDULING & TIME MANAGEMENT
Rehearsal only works if time is treated realistically.
Everyone has jobs, travel, and other obligations. We don’t try to overpower that with marathon sessions or rigid expectations. We rehearse when we can, regularly enough to keep ideas alive, without pretending creativity runs on a schedule.
Some songs take longer. Some come together faster. We don’t rush either. Scheduling exists to support the process, not dictate it.
Exercise & PHYSICAL MAINTENANCE
This kind of repetition adds up physically.
Playing the same material over and over stresses hands, shoulders, backs, and legs. We don’t treat exercise as optimization or performance training. It’s maintenance. Staying capable enough to keep rehearsing without breaking down.
If bodies start failing, the back-and-forth stops working. Taking care of that side of things is part of keeping the process open-ended instead of forced.
POST-PRACTICE BARS
A lot of the process happens after we stop playing.
Sitting nearby afterward, away from the instruments, is often when things click or don’t. Once the repetition stops, it becomes obvious which parts still feel unresolved and which ones are settling into place.
We’re not fixing songs there. We’re letting them echo in our heads. Ideas that survive that distance usually deserve to be taken back into the room.
Relationship to Sound & Method
Rehearsal is where ideas earn their place.
This is where writing gets tested, reshaped, and either carried forward or left behind. The back-and-forth here affects everything else: how we set up, what we keep, and what we eventually take into the studio or onto a stage.
Nothing moves forward until it feels ready to us. That patience is part of the method.