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But in an album, the first thing we think of is that we need to have variations in music, so we try to cover a range of types of music.

So in NIL, that presented the challenges we had at that time, and the new album, well to say hip-hop, there was only one track that was like that.

But it was new to us, so for us we feel like it has opened up a new door for us. We did not exactly aim for the hip-hop sound, though.

Speaking of releases, you will be releasing a new single next year. Could you tell us about it? KAI: Yeah well, the release date has not yet been decided.

But right now the music is coming together bit by bit, we are discussing let's do this, let's do that, so we can't really tell you anything because well, it's not complete yet.

In DISORDER, the song "Saraba" had a very strong anti-war message. Are there any songs such as ones from STACKED RUBBISH that raise strong political or moral questions?

KAI: I don't think so, anything politically. According to RUKI, all the lyrics he writes are from things he's actually experienced. He's the only one that writes lyrics.

Have you ever attempted to write lyrics? KAI: There was once, a while back, RUKI asked us to contribute some lyrics to a song. It was three lines, and he asked us to write whatever we felt like.

I did and he laughed at what I wrote. KAI: No, actually, yes, REITA's lines got used, in "ITO. KAI: Oh, that's like his trademark now, it's like a part of his body.

That is REITA. Does he wear that normally? Isn't it hard to breathe like that? KAI: Well, I guess since he's still alive it mustn't be too bad.

Do you design your own costumes, or do you let the stylist design for you? KAI: We work with the stylist to come up with the design.

We would draw up a design of what we imagine ourselves wearing, and then the stylist would suggest "Wouldn't it be better like this? That's really interesting to hear about the creative process that goes into your image.

So, to digress a little, you have just completed a live at the Budokan this year. Last September, you also did a live concert there. What was the biggest difference, experience-wise?

KAI: Definitely. This time around, we know what we are doing and how we are presenting ourselves. We are able to look at ourselves objectively, since it's our second time performing there, and I think that's the biggest difference.

It really applies to all the concerts we did in this tour. At the Yokohama and the Budokan concerts, all of your parents were there amongst the audience.

How did that make you feel? KAI: You mean how it felt to perform in front of our parents? It was a happy experience, it wasn't really like repaying them, but when we first started the band, we had to go through a lot of difficulties and they helped us a lot.

Finally now we are at a place where we can, not just substantially repay them, but emotionally as well, and I am really happy about that. Was there anything that presented itself as a challenge during your tour this time?

KAI: Hmm.. It's not as much of a challenge, being that I think we have discovered new things that we can work on.

When doing a live, we come to know what we are lacking, and what we need to do to change that. So, at the next live, or even at a recording session, we can find ways to overcome the problems.

We basically found new things that we need to work on, and didn't really have much opportunity to face new challenges.

In previous recessions, falling investment and exports led the downturn. This time is different as private consumption, traditionally the backbone of demand in South Asia and a core indicator of economic welfare, will decline by more than 10 percent, further spiking poverty rates.

A decline in remittances is also expected to accelerate loss of livelihoods for the poorest in some countries. This includes key investment climate reforms to promote physical infrastructure and access to finance for the informal sector to shorten the transition to recovery.

Informal businesses make up around 50 percent of enterprises in Nepal and are the main source of income for most of the labor force.

Within this group, urban informal sector workers and self-employed households in urban areas are more vulnerable than rural households who can fall back on subsistence farming.