SUMMER SONIC Bangkok — first OKYU‑JI overseas

AKANE (drums): I was thrilled to finally perform an OKYU‑JI in Bangkok. The production even included flames onstage — it isn’t often a festival uses effects like that, so it was a blast.

SAIKI (vocals): The Thai crowd was incredibly warm. From the stage you could feel how much they love rock music; it made me so glad we made the trip.

KANAMI (guitar): I was nervous because many in the audience were seeing an OKYU‑JI for the first time, but we perform with everything we have. Misa and I ended up trading riffs out on the runway — that bit was really fun.

MISA (bass): It was a fresh experience for me too.

MIKU KOBATO (guitar/vocals): At first I worried how people who hadn’t heard us before would react, but as the set went on more fans raised their hands. I saw Masters and Princesses on shoulders getting a better view — it made me so happy and really want to return for a solo OKYU‑JI.

The making of SCOOOOOP.

KANAMI: Work on the EP overlapped with last year’s album sessions. The first melody I brought in became “SION.” I’d saved a voice memo after a breakup three or four years ago and wanted to turn those raw feelings into a song. I didn’t want it to be only sorrowful — I aimed for warmth, like revisiting an old photo album, and to finish on a hopeful note.

KOBATO: For the lyrics I wanted a bittersweet, gentle tone — something that nods to songs like “Mirage” or “anemone.”

SAIKI: I tried to deliver the lyrics so the song’s message would come through. With pieces like this, singing too softly can mute the meaning, so I took a different approach. We were meticulous in the studio and spent a lot of time crafting the performance.

MISA: I began the bass with fingerpicking to give the song a wistful warmth, then switched to a pick toward the end so it felt like a ray of light breaking in.

AKANE: The drums include many intricate phrases. I used sixteenth‑note hooks in places and also adopted a subtractive approach — leaving drums out where it served the song, then playing full‑on where it mattered to create contrast.

“Present Perfect” — meaning and structure

KOBATO: The title references the grammatical tense. As the lead track, we wanted it to act as a calling card for BAND‑MAID. Saiki asked for lyrics that look back while pointing forward, so I wove in lines and motifs from our earlier songs and made sure to include the line “over the world.” The chorus opens with “We are the story,” to express that we’re moving ahead together with our Masters and Princesses.

SAIKI: We intentionally referenced last year’s Unleash EP and the album Epic Narratives in the lyrics, hoping new listeners will be curious and explore our back catalog.

“SUPER SUNSHINE” — an uplifting anthem

SAIKI: On stage I notice faces I don’t often see and new attendees; I want our shows to welcome everyone back. I thought about what’s constant in people’s lives and landed on the Sun. We wanted the song to feel like a comforting, unstoppable light — almost superheroic: “We’re always here for you.”

MISA: The song opens with a swelling intro and the chorus centers on bass. A melodic bass line and a compact yet rich solo — including harmonies and slap bass — gave the solo a live, energetic feel. I wanted to pack a lot into a short moment so it would resonate.

AKANE: I always have so much fun playing live, and I see our performances as giving energy back to our Masters and Princesses.

“Dilly‑Dally” — a modern caution with heart

SAIKI: The song speaks to young people immersed in social media and carries a gentle admonition not to waste life scrolling. We actually chose the title first and built around that idea.

KOBATO: We’d used “dilly‑dally” before on “Moratorium,” so we brought that phrase back. We each drafted lyrics, then combined the best lines into the final version.

“Lock and Load” — instrumental readiness

KOBATO: The title means “all set” or “ready to go” — like weapons loaded. We wanted an instrumental that showcases what BAND‑MAID sounds like, so newcomers can immediately get a feel for us. It’s designed to echo the energy of tracks such as “Ready to Rock,” suggesting we’re preparing to push even further.

Why the EP is called SCOOOOOP.

SAIKI: We picked the name to evoke the idea of a “news scoop” — bringing something new to listeners discovering us now while also celebrating long‑time fans. The five Os symbolize the five of us and the bond and mutual respect that shape BAND‑MAID’s music.

Looking ahead to 2026

SAIKI: Next year we want to play overseas.

KOBATO: We hope to cross the ocean and present OKYU‑JI abroad. Many overseas Masters and Princesses ask why we don’t visit — we’ve wanted to go for a long time. This year kept us busy at home, but we’d love to make it happen in 2026. Details aren’t finalized, but we hope everyone will be excited.