THOUGHTINGS ON, HAINO KEIJI ALL-NIGHT 30th(31st) December

Here's a problem: how to speak of what's unpopular, (no it's not a problem, unless you insist on the whatever-you-think-as-already)something that lacks a framework (it is abundant in framework but is not immediate to be known so it gets so people are saying "where is the structure?" -- here and everywhere for fuck sake -- or for fuck sake why care about a "framework" whether it is there or not? What would you know about it? it seems to limit everything to being a carefelt welldone parcelling wrapping of something you were expecting anyway. The best crooned-over packaging is of unexpected gift-stuff) that does not pertain mainly to its own quality which needs to be experienced itself fully and sort of over and over ? (so I insist on not worrying about it then)

see so I will scuttle all that before I wrote (hasn't this taken too long a time -- what value does it have? -- isn't it past any idea (value) now? -- so it gives (what "it"?) allowance to strike out ("it" = just right time I suppose) I now believe that Haino Keiji is very misunderstood. (among many such things then) Misgivings, from those who don't immediatly splutter b-b-but, this isn't music?! tend to focus on his image and performance style/movements, in order to lay a claim of inauthenticity. One such statement is from someone who wrote the biography of a famous free improviser, wherein free improvisation was, I think, extolled as music free from capitalist worming and so on. --course, HK is neither a free improviser as such, nor was he born in sheffield. But the claim of inauthenticty comes from that thinking, all tendencies to evoke images beyond the readily untended there are glisten and advertisal/ predatory marketing//

extract from stricken extract: misunderstood: misgivings: inauthenticity: all tendencies to evoke image beyond present the ready unintended lot there glisten adverterial, predatory, marketing, strike ?

best not to speak all that very much?

Summary of Events:
Vocal only song, almost reading, from lyric sheets (I assume) two or more microphones each arriving the voice at a different place in the audience chamber. Stereo, spectre. I had predicted a primitive "black blues" sound with alterations as from the "aihiyou" corpus, based on the revelation of "seijaku" -- after the initial mesmerising unaccompanied singing a blind siding, explicit techno/trance electronica sort of realm that propogated in many remarkable ways. This is of course the Pan[a]Sonic influence as there had been collobarations with such recent years. There was a lush loop formed in the machine noise and a flute was played over this. "Ancients" spectral presence. Here the first occurrence that evening of phantom musics as emergent phenomena -- not music being played but being caused to appear -- summoned, from back of time, first evoked musics, what did it sound like? Sort of evokes these concerns: history, of music, probably he would say music's "secret", and the codes present in instruments, transmission of. A search, exploration, of all possible vectors along which, through, thereby . . . performance transpires?

It was a while ago, but I found some (very sparse) notes: after the techno there emerged the song called "coco/koko - ここ" = "here" /not entire song, and wrongly attributed to solo album 'keeping on breathing'/ there's a big chord build up at the beginning of the full thing, I tried playing it to some japanese boys in a terrible dormitory - "these aren't chords" they said/([ _ ] *~) = last track of fushitsusha live 1 -- half hour solo version around somewhere -- "here" seemed to become "fuwa-fuwa - ふわふわ" = [sensation of]"floating" or something like that -- returned to "here" -- and then, must have been forming some loops, "acchi - あっち" = "there" = as in 'over there', rather than 'here' -- with flute! These songs and the cycling through them is a core aspect of his performances, has been for quite a while. Evidence: I Said, This is the Son of Nihilism hour long single track recording -- from about 18 minutes you get the fully present "here" and it goes along as ways I have just here suggested. Bundle of triangle fushitsusha core plus attachments orbiting to be plucked whenever wanted by the focal performance centre-ing musician.

SAMSARA WHEEL:

Perhaps it seemed ten years ago rythmic patterns had the danger of imprisoning the flow in any live situation, now he deftly improvises out of a vast bundle of such forms, often seeming to show how they are related. They are at hand to manifest, then be reconfigured, juxtaposed, mosaic built in process of wild form. In fact, this is how fushitsusha progressed, at least when following the order of album releases: initial song forms are presented (Live 1) extended (Live 2) then mingled, bred, mutated, dismantled and revived, all processes between (everything subsequent). Then after the apparent dissolution of band we were shown the 1978 recording, in which everything was revealed to have already occurred. This record was called "it was eternity that reached out first " . . .

. . . In the nowadays, for Haino Keiji, the blues form has become a perfect means of extracting various chord structures and then eloping elsewhere, in an unadorned primitive sound style. Also, he has found a way to be more direct, the imperative tone directed, probably, at universe as a whole, in a frantic prayer way.

band: SEIJAKU currently new trio, based on blues-form. Seems as an aihiyou-derived, stripped down, plus fushitsusha ghost resonance continuation. I am off to see performance in one hour or so. Was re-scheduled, from day of earthquake. 2 months have passed . . .

3rd of May I went to birthday live, I will attach self-discussion of that event, to here end somewhat, soon, when I can, which is soon, or it is not soon, when I can is not soon, is when it is done.

For the moment please excuse me. Here is a video of the encore performance of the 30/31st solo night live under discussion in the above. it is probably 8 in morning. Exhaustion of audience, and ears of them, has passed and a glee of being a bit battered has made everything pristine in sound-appearance and everyone is tough to keep up and have things happen more and more, everyone safe, fairly happy, we had been cacooned within this gentleman's musicianhood,so: