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quotes onkyo other musicians articles links |
sound for me, everything comes back to sound. everything comes from sound. sound can be expressed in terms of colour, in terms of the relationship between people, or the relationship between your limbs keiji haino, 1996 full the music itself is totally the opposite of so-called black (dance) that makes you feel up and positive. our sound gradually became something that drags you down into the dark, into closed and dangerous directions. there's no feeling of liberation. if i had to put a word to it, it's more like oppression and danger ..i'm aiming for an extreme, whether it's a low or a high extreme doesn't matter munehiro narita []high rise, 1996 full expression i don't want to express anything with music, i don't like emotional music any more. who cares how i think or how i feel? i just want to play an instrument which doesn't have any connection to inner emotion toshimaru nakamura, 2000 full if you imagine the essence of expression as a huge object, then jim morrison and so on are all just a minuscule part of that. they didn't have enough–all they had was maybe one thousandth of the whole ..if the essence of expression actually exists, then i am an amalgamation of all those separate essences. though I think that probably this essence of expression doesn't actually exist keiji haino, 1996 full religion i like christ, but i hate christianity keiji haino, 1996 full noise & minimal everything is small, tiny or 'no.' i said no to emotion. i changed to a minimal set-up with this minimal music. i play in small combinations of musicians to small audiences. i don't subscribe to a newspaper, i don't have a tv. but the information coming is still too much. i have to say no. so probably my music is that kind of statement toshimaru nakamura, 2000 full i'm really interested in both ideas: too much information, and very little information otomo yoshihide, 2000 full i bought about two thousand noise records from all over the world. not one of them was worthwhile ..it's easy to be deceived into thinking that noise is good just because it exists as a product. you can't produce worthwhile music by just sitting in a chair and playing with a sound generator. you've got to throw your body into it, spill a little blood to make good noise ..i like noise that has that kind of physicality to it ..i mean, if you were to give me a studio and equipment for a week and tell me to make some noise, i could come up with a couple of hundred lps worth asahito nanjo []high rise, 1996 full in the past people had to really experiment for themselves, and that struggle gave birth to all kinds of music. that sense of experimenting has been lost. i feel that's what's happening to music at the moment. in Japan now there's so much information flying around that it actually becomes impossible to do anything - there's no time to think. the only way you could possibly do it would be to ignore all the information around you munehiro narita []high rise, 1996 full i don't really understand noise - that's my position on it. the sound that i get out of my amps when I have them up full has a lot of noise in it and it's distorted to fuck. but as far as i'm concerned it's just one more kind of sound. i guess that i must hear it differently from people who listen to noise. i don't see any reason why you should just separate out those sounds and listen to them munehiro narita []high rise, 1996 full live on stage my ideal is to perform as little as possible, to do nothing makes no sense, so i do little things. i want to shift the atmosphere a little bit. i feel something and try to use myself as a filter toshimaru nakamura, 2000 full when producing sound, even if one reduces as much as possible what is called "self-consciousness," one can never completely eliminate it. this is because the "i" that produces, decides to produce, and thinks about producing sound and the "i" that listens to, decides to listen to, and thinks about listening to sound are always there. the minimal "i" performing minimal "listening" and "sound production," possessing a minimal "will".. atsushi sasaki in liner notes for filament's live cd 29092000, 2001 full someone asked me to play something that i'd played before, so i tried but it didn't come out right. they're just things that come out there and then. we're a live band, so that's what's most interesting about us, isn't it? munehiro narita []high rise, 1996 full if lyrics come to me then i'll sing lyrics, if they don't then i'll sing something else. the best situation for me to sing lyrics is darkness. (laughs) for me the best song is one where i surprise myself, where i sing melodies and rhythms that i've never sung before. and if i can attach lyrics to that, then that's the best kind of song for me. but for some reason, if there is any light, i can't sing keiji haino, 1996 full over the years i have studied different methods of presentation–whether i should explode suddenly, or gently draw people in. i don't like words like "balance" or "control" as they imply that something is contrived–i would prefer to say that i constantly choose the most effective method of presentation while i'm performing. i don't think about what i'm going to do the day before. i respond to the internal vibrations of each sound as it appears, and decide which type of sound will follow it most effectively. i construct the sounds one by one keiji haino, 1996 full before i make any sounds, first of all i breathe in all the air in the performing space. most performers feed off the audience, but i'm conscious of entering into a relationship with the actual air in the place, even before the audience has arrived. after breathing in all the air, when i breathe out again i want to engulf the audience in that air. and then on top of that, i want to return the air to its original state again. when i breathe in all that air and engulf the audience in it, it feels like i have become god. that in itself would be blasphemy, which is why i then return the air to its original state. this might sound like a joke, but it's not–it's easy to become god, but difficult to keep that power keiji haino, 1996 full people often say that my sounds are loud, and that can be a negative thing. it's not the sounds that are loud, it's me. i actually become the sounds. people often say how opera singers should sing not from the throat but from the diaphragm, or with their whole bodies. but that just limits the sound to yourself–what i want to do is make the air itself vibrate. and that's why it's loud. i give my body to the air. that makes the air vibrate keiji haino, 1996 full thinking is something that you do after the event, you analyze it. consciousness is something that exists before, during and after. i don't like this idea of just thinking. for me, consciousness is the most important thing keiji haino, 1996 full technique i think that repetition is one of the important essences of music. there's so many things you can do even within just one chord asahito nanjo []high rise, 1996 full recording i've never really understood this whole thing about recording studios - all you're doing is making crap material even worse. That's all they're for really, aren't they? In the end, one-take recording is always going to be the coolest. If you listen to our stuff you can tell that we never use multi-tracking munehiro narita []high rise, 1996 full i want to play music that communicates its own truth at that particular moment in time. recording is always a lie munehiro narita []high rise, 1996 full as musicians i never had any musical education, and i never had any thought of being a musician sachiko m i'd like to make music that can move and be understood by everyone on the planet, without words. music that embraces tradition and the future. music that goes beyond words. everyone just tries to sing in english when they want to communicate internationally. that's not the way to go ..there are enough personal love songs - they're too easy to empathize with. what we need now are universal love songs asahito nanjo []high rise, 1996 full i never even wanted to copy anything. i just wanted to do something that would be different from everyone else munehiro narita []high rise, 1996 full just in terms of speed there're a million bands faster than us - hardcore bands and so on. our sound is totally different from theirs, where everything is in balance. high rise feels more like seeing a traffic accident happen right in front of you. (laughs) or someone topping themselves in front of you. that's the kind of feeling we're going for. metal and hardcore bands feel more like riding a rollercoaster at a funfair, that's their world. there's no sense of the now or reality, maybe munehiro narita []high rise, 1996 full i sing because i want a sense of becoming one with someone outside of myself i don't like using the word "message," but what I want is that feeling of union keiji haino, 1996 full i do it because i don't think it's possible keiji haino on question when did he start to think that his music can have a therapeutic effect on someone, 1996 full what i am trying to do is to express in music the satori that the buddha achieved but couldn't explain keiji haino, 1996 full looking at other musicians the reason why i still listen to so much music is because i want to discover someone who is better than me. i want to find someone who can tell me that what i'm doing isn't that great. human beings need that kind of competitive stimulus to keep on going further keiji haino, 1996 full probably the stuff that i've stopped listening to the most is contemporary 20th century composition. definitely. too much of it just coming from the head. when i talk with people i try to make these ideas as easy as possible to understand. i use simple words. like i always say, any conversation that a child can't understand is a lie. if you don't do that then you'll end up playing with vocabulary, playing off the words you know against the person you're listening to. if you do that then there's absolutely no way that the ideas of music as therapy, or a tool to become closer to people can exist keiji haino, 1996 full contemporary composers always have an elitist academic attitude. they seem to like to pretend that they're doing something dangerous in escaping from the normal classical music world asahito nanjo []high rise, 1996 full i don't think I've listened to a single new record in the last ten years. i don't even feel like i should. what we're doing is the most important. doesn't matter what other people are doing munehiro narita []high rise on question whether he knows anything about current american rock scene, 1996 full music criticism everyone is too aware of history and criticism when they listen to music and that’s why they don’t understand it properly. they read that someone is amazing, then they go out and buy that record–it turns into an academic exercise ..it's ok to think about music after you’ve heard it. but first you’ve got to experience it keiji haino, 1996 full i am extremely aware now, because i don't want to be misunderstood. it doesn't matter whether you like me or not, just don't misunderstand me. i don't want people to like or hate me for the wrong reasons keiji haino, 1991 |
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 otomo yoshihide (59 le 12 ahau) .jp/tokyo ++ i'm really interested in both ideas: too much information, and very little information plays turntables, guitar and home-made electronics; "postsampling" (98-) infl by jp free jazz, jp punk, zorn, mzx concrete, ganaku founded amoebic label w/ sachiko m (97) @ filament (97-), i.s.o. (98-), otomo yoshihide's new jazz quintet (99-), novo tono (94-), ground zero (90-98), microcosmos (98-), les sculpteurs de vinyl (96-), p53 (94-)  sachiko m .jp/tokyo i+ i never had any musical education, and i never had any thought of being a musician plays unique style utilizing a memory-free sampler, creating pure, piercing sine waves with the device's built-in test tones and noise (98-) founded amoebic label w/ otomo (97), started private distribution sys chansa worked @ sound effects dept of a theatre @ filament (97-), i.s.o. (98-), hoahio (97-), +nakamura, ground zero (94-97), les sculpteurs de vinyl (96-), cosmos (98-)  toshimaru nakamura .jp/tokyo i+ i don't want to express anything with music, i don't like emotional music any more. who cares how i think or how i feel? plays "no-input mixing board", connecting the input of the board to the output, then manipulating the resultant feedback (98-), guitar (-98) founded reset label org monthly impro meetings (98-, w/ sugimoto, akiyama) @ sadato, paragon of beauty (91-97), +sachiko m, +sugimoto, +rowe, repeat (98-) taku sugimoto (65 sa 3 chuen) .jp/tokyo + plays guitar, cello org monthly impro meetings (98-, w/ nakamura, akiyama) @ mongoose (98-), +akiyama (94-), +nakamura, +kawasaki, +yoshihide, hikyo string quintet (94), henkyo gakudan (91-92), piero manzoni (85-88) tetuzi akiyama (64 ar 11 men) .jp/tokyo + plays loosely blues-based style, but stripped back to a very minimal and deconstructed base of isolated sonic elements; guitar (heavily applying free impro and noise), electronics, viola, self-made instruments infl by free impro, classical, hard rock org monthly impro meetings (98-, w/ nakamura, sugimoto) @ mongoose (98-), sutekina tea time, +sugimoto (94-), hikyo string quintet (94-), nijiumu (94-95), madhar (87-)  ami yoshida (76) .jp/tokyo ++ is vocalist; strives for a barely audible sound perceived as sound itself rather than as vocalization @ +yoshihide, astro twin (+utah kawasaki), cosmos (98-), california dolls (+chihiro wada)  haco .jp/kobe + is vocalist, songwriter, multi-instrumentalist, producer, engineer studied acoustics and electronic music @ hoahio (97-), acid mothers temple, after dinner (81-91) ichiraku yoshimitsu (59) .jp/yamaguchi + plays drums, percussion, electronics @ i.s.o. (98-), googie child, omoide hatoba, phantasmagoria, acid mothers temple  seiichi yamamoto (58) infl by punk, new wave @ novo tono (94-), omoide hatoba, boredoms, rovo oshima yasukatsu .jp/osaka plays 3-stringed sanshin; sings @ orquesta bore
filament - a limitless laboratory for memory-free post-sampling music which has completely deconstructed sampling (97-) .jp/tokyo [] sachiko m (sampler with sine wave), otomo yoshihide (records and cds with mixer) i.s.o. - electronic improvisation group (98-) .jp/tokyo [] ichiraku yoshimitsu (drums, percussion, electronics), sachiko m (sampler with sine wave), otomo yoshihide (turntables, cd player, guitar)  hoahio - their work consists of half composed pieces, and half improvisations, blending a mixture of genres (punk, minimalism, ethnic, techno, pop, noise, ambient), resulting in an eccentric, japanese urban, avant-pop sound (97-) + [] haco (vocal, electronics, electric mandolin), michiyo yagi (koto, voice), sachiko m
onkyo - a japanese word meaning "reverberation of sound", the word onkyo-ha or onkyo-kei (onkyo school) started to be used about 1994 among musicians and music writers in order to refer to a certain type of music, and musicians playing the music. soon the use of the word became widespread, and now it can be said that onkyo-ha or onkyo-kei is recognized as a genre in japan. in short, onkyo-ha or onkyo-kei music is music which puts much more importance on sound texture than on musical structure, combining many elements of techno, noise, and electronic music; loosely can be interpreted as "less is more" |
 ikue mori (53) .us/new york + plays drum machine, drums @ death ambient, dna (77-82) makoto kawabata .jp/osaka i+ infl by all kinds of music, troubador music, occitan trad @ acid mothers temple (96-), tsurubami, mainliner (95-98, 99-), musica transonic (94-), +yoshida, hedik (78-85) keiji haino (52 ta 6 men) .jp/tokyo + if i were to shave my head and wear white robes it would be too close to what i sing about my first memories are from around the time i went to kindergarten. it seems very symbolic now, but i remember that when all the other kids were playing in the sand pit, i'd be playing with building bricks. and when they were all playing with the building bricks, i'd be in the sand pit is singer plays percussions, guitar, ethnic instruments is anti drugs and alcohol insp by blue cheer, jim morrison, artaud, hendrix @ fushitsusha (late 70s-), nijiumu (88-), vajra, vasara, +barre phillips, +peter brotzmann, +loren mazzacane, black stage, lost aaraaff (70-71)  asahito nanjo + is anti drugs infl by free jazz, psychedelia, kagura, punk, soundtracks founded la musica label @ high rise (84-), mainliner, musica transonic (94-), toho sara (92-), okami no jikan, nijiumu (88-90), sweet inspirations (83-84), kohsokuya (82-83), rotten telepathys (81-82), tako (81-82), i'm useless (81-82), red alert (71-81) munehiro narita (59) + plays guitar is anti drugs infl by free jazz, psychedelia works @ major securities company @ high rise (84-), kyoaku no intention (80-82, 98-), tako (82-83), kohsokuya (82-83), tokyo (79-80) tatsuya yoshida + infl by punk, jazz @ ruins, musica transonic (94-), +kawabata, mainliner (96-97, 98), koenji-hyakkei, korekyojin, ybo^2, zeni geva hoppy kamiyama + @ the saboten masami akita ~ merzbow (56) studied painting, art theory infl also by bondage films kk null (vi) + @ zeni geva ryoji ikeda (66) koji asano (74 ta 8 etznab) .es/barcelona + founded solstice label
 acid mothers temple - freak-out group for the 21st century (96-) .jp/nagoya i++ [] makoto kawabata (electric guitars, violin, bowed peacock harp, organ, bouzouki, zuruna, tambura, alto sax, cornemuse, synth, vocal, speed guru), cotton casino (voice, synth, beer & cigarettes), tsuyama atsushi (monster bass, acoustic guitar, voice, cosmic joker), higashi hiroshi (synth, acoustic guitar, soprano recorder, chorus, dancin' king), ichiraku yoshimitsu (drums, kendo), koizumi hajime, mano kazuhiko, ishida yoko, haco, father moo, magic aum gigi, audrey ginestet, terukina noriko.. fushitsusha .jp/tokyo [] keiji haino (guitar, vocal), yasushi ozawa (bass), ikuroh takahashi (98-, drums), jun kosugi (90-98, drums), maki miura (-90, guitar), akui (-90, drums) high rise - explosive power trio mixing the jazz-influenced improvising of live Cream with the often brutal amphetamine-inspired rock of Blue Cheer; no composing, just playing (84-) .jp/tokyo + [] asahito nanjo (bass, vocals), munehiro narita (guitar), koji shimura (-02, drums) musica transonic - composing while playing (94-) .jp/tokyo + [] asahito nanjo (bass), makoto kawabata (guitar), tatsuya yoshida (drums) mainliner - high rise #2 (95-) .jp/tokyo + [] asahito nanjo (bass, vocals), makoto kawabata (95-98, 99-, guitar), koji shimura (98-, drums, ex-bass), tatsuya yoshida (96-97, 98, drums), tosuke kohata (98-99, guitar), hajime koizumi (95-96, drums)  ruins - unique fusion of punk and prog rock w/ impro lyrics (86-) .jp/tokyo + infl by zeuhl [] tatsuya yoshida (drums), ryuichi masuda (91-, bass) bondage fruit (90s-) + infl by zeuhl [] kido natauki (guitar), katani yuji (viola), hirohiko otsubo (bass), takara kumiko (vibraphone), yoichi okate (percussions), aki kubota (vocals), saga yuki (jazz vocals) happy family (late 80s-) .jp/tokyo infl by zeuhl [] kenichi morimoto (keyboards), shigero makino (guitar), tatsuya miyano (bass), keiichi nagase (90-, drums)  ex-girl (97-) .jp/tokyo +++ [] kirilo (bass, vocal, casiotone, SH-101, recorder & toys), fuzuki (drums, vocal, casiotone, percussion, recorder & kengari), keiko (guitar, 01-), chihiro (guitar, vocal, recorder, chroma harp & toys, -01) w/ hoppy kamiyama (mini-moog, SH-101, piano, emu-II, percussion, sax, producer) the saboten + [] hoppy kamiyama, saguaro, dj force boredoms (early 80s-) .jp/osaka ++ [] yamatsuka eye (vocals), hila y (bass, vocals, percussion), seiichi yamamoto (guitar, vocals, percussion), yoshimi (drums), hira hayashi (bass)  melt banana
zeuhl - a word invented by magma's leader christian vander to describe the kind of music magma plays; over time become a valid prog's sub-genre |
nihon no hardcore, pitchfork, jan 02 kawabata iview, pitchfork, jan 02 nihon no hardcore 2, pitchfork, dec 01 yoshihide iview, revue & corrigée, oct 01 ex-girl iview, headlight, feb 01 yoshihide iview, log illustrated, winter 00 mori iview, clicks and klangs, oct 00 nakamura iview, wire, oct 00 ex-girl iview, headlight, may 00 kawabata iview, kindamuzik, jan 00 sachiko m, the wire, apr 99 mori iview, jazzfunkt, may 98 yoshihide iview, psf, may 98 merzbow iview, psf, dec 97 mori iview, psf, nov 97 jp impro in 70s, resonance, 97 boredoms iview, resonance, 97 my favourite jp recording, resonance, 97 haino iview, the wire, sep 96 nanjo iview, opprobrium, nov 96 haino iview, halana, jul 96 narita iview, g-modern, 96 fushitsusha iview, opprobrium, nov 96 ruins iview, browbeat, fall 93 boredoms iview, browbeat, fall 93
japanimprov.com txt psf txt batofar cherche tokyo festival, dec 01 japanorama tour, jan 01 mottomo otomo festival curated by otomo, nov 99 cut.fm label sonore label squealer music label psf label psf usa label la musica label alchemy label |
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