"fumigate" ; further elaborations

Want to while still fresh memorialise thoughts on "fumigate" emanating from twitter,(starting around here? https://twitter.com/LmthwL/status/710472258343428097 ) I can't recall the impetus but that's OK.

fumigate: (often wishfully) broke down = // 'Gate' meaning apocalyptic .. @LmthwL as in the holy writings.. The predictions and the awaiting by its believers? .. .?//

fumigate: for-me-gate (gate-as opening/reproductive connotations) four-gates (a basic town)

(contd) migrate (creeps in)
fume (anger/fire) gat = ghat the burning ghats of benares, I think, the burning of bodies.

--
further elaborations: benares, often considered the oldest still-populated city in the world(where else?)
Burroughs the exterminator (I haven't read that text tho)
the de-population thru fumigation of undesirables in our "residences"
as the earth(world) is fumigated in our attempts to create civilisation enough for these "residences"
that we fumigate
・・・
LOOP.

(also, Burroughs, fumigating(exterminating) my thought "the Lost Ones" (Beckett) is inspired by Kafka "Josephine/the Mouse-Folk"/ the holocaust / + finally leads to the comic "MAUS"

I think that's what I wanted to say. A little further thus. That's the name of a fushitsusha song I had for a while considered for my funeral. But now I don't want a funeral. There should be chutes to send you to a volcano or some magma, or corium.
(Oh, and this is earlier: "Brexit" = Corexit → Corium

Is the song on youtube? Let's look.I can't find it. Shame. It is "funereal" -- fume is and funnel/ chimneys / you see here in tokyo and no doubt elsewhere tall white columns spewing smoke. They are either for recycling(burning) rubbish or near funeral "parlours" and that is dead people.

to end this a while, something musical. then this fushitsusha "just before", I thought,think Japanese title is "ほのすこし前" or something but wife-woman says "no", and I have the cd but not with me. sorry/ it is a melodic rising intro to an album. The next song is ”うまくいったのに" or something like that, but that is a separate blog post I have prepared for some other time.

Hold on, "fumigate" was from some "pre-death couplet" I had dreamed of once, that I was going to use twitter for purely (as receptacle for pre-death couplets) (I thought eventually they could be shuffled. But then I just got lost in twitter-garble. Also, I am not sure I am pre-death enough. I would have to go a doctor to make sure.

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:

reassertion of beauty by 1 不失者 recording

You want to be around for, approximately precisely, from: 3:58... wherein the guitar stirs, that first note peals, a tone in space, that was a sort of evoked quiet, and peels itself as it where off and on again, as in, a cosmic decal; it may seem a bit direct at first, but then tails behind it a little slight thing, that later evokes the latter passages, of when the stirring began, and where it ended up, well it just goes just where it ought to ・・・ I like to rise the volume in conjunction with the risen force as it happens

This is when FUSHITSUSHA had an extra guitarist, providing the swelling underrhythm. Do you like from around 9:35 when the above and below seem to meet?

(This second guitarist, Maki Miura went on to form the band SHIZUKA with his wife. She died recently unfortunately. Or last year. A few of the more battered japanese underground musicians are ceasing to be. Rumours of a prescription medicine with adverse effects ・・・)

Although it says "untitled" on the video, I am pretty sure the title of this song is [好きにやればいい]　

And I am pretty sure there is another version of this song on the 2nd fushitsusha live album　・・・

no song soundings patchwork things o

There are many more birds in this neighbourhood (than in the previous neighbourhood), they are like flying and perching most everywhere and always (very many birds).

Crows are very clearly heard, like their ah cocky croak (I like when seeing them closeup on walls and things, their very metalparts clawfeet).

And there is some kind of cloud mass bird lifeforce dwelling and squeaking all together in big trees -- littleish birds.

The best bird may be -- it has never been seen -- the bird that cries HORA,HORA,HORA or sometimes HORA,HORA,HORA,HORA -- this is my favourite thingsound in japanese, the exasperative, pointive, declarative exclaimative 「ほら・ホラ」-- This bird really sounds like a human saying such -- maybe they all live near an exclaiming exasperated family ・ I am always happy to hear the voicing of this particular unknown bird.

The HORA is in many favourite haino keiji songtracks, for example on the excitingly guitarless fushitsusha album ORIGIN'S HESITATION, 5th track which I translated probably foolishly as "the shadow now becoming manifest" (hereish)The lyrics do not really indicate how the "song" actually sounds: a layering of live samplings of live sort of improvised moments. As well as "hora" (in profusion from 2 minutes 15 seconds), there is also an exclaimative declaritive pointive exasperated "kage" 「かげ」「影」(shadow) (from 3 minutes 25 seconds)

ほら

The album as a whole is quite controversial because of it being "guitarless". Some listeners, judging from at least two reviews, have even hallucinated the presence of "gated guitar" - - They are so lost without their haino keiji caricature . . .

And just yesterday golly came the rose-ringed parakeet! husband and wife, chirpy bubbly warble!

fushitsusha digress - 不失者からブラブラやるけど、不失者

I became convinced that fushitsusha were/are the best band ever when I contemplated aircraft carriers. Perhaps it was because a friend, an older boy, when I was much younger, won in a competition (somehow, it seems impossible but I played with the thing) the G.I.JOE aircraft carrier toy vast platform where all the things you can dream of occur

-- and I always thought fushitsusha would be a good band to entertain the "armed forces" on an aircraft carrier, because they need entertaining long long time (the armed forces), and the band (fushitsusha) had been able to play 7 hrs and more, out in the ocean I suppose, throughout the night, with no restriction on volume.

But I suppose the music is so often disliked they would not go down well on an aircraft carrier or some similar entertainment venue for "the forces"

Often I have hoped to convince friends to appreciate the music of fushitsusha and haino keiji in general. It's very hard. I think I only started to figure out fushitsusha, how their performances cohere for example, after around 10 years of listening. There is no ideal introduction, perhaps the first double live of fushitsusha is pleasant to listen to for most people who have already heard certain musics - yet by the next fushitsusha, also a live double thing, everything has been extended so far it almost contradicts the previous format (if you don't quite know what to listen for) - and with the next, a first studio recorded album titled "pathetique" (and, no-one mentioned this, and I only knew when putting the cd in computer and seeing a track title, the only one, for the first track ((everything else, there are only four tracks anyway, are 2,3,4)) "Symphony no.6 in B minor, Op.74 'Pathetique'"



Looking at the wikipedia (what else) entry: Symphony No. 6 in B minor, Op. 74, Pathétique, by Tchaikovsky it is almost clearly evident that the fushitsusha track is a "cover" only of the "cross motif", perhaps that is the spine of the symphony, I won't know these things unless I sit down and listen carefully many times to all the recordings and I am moving, very soon now, and was packing, and I found (in a moment of horror that paralysed me but for a laugh (maybe one laugh) and a swear word I don't now recall but probably it was mundane)
that cockroaches can fly.

As to how fushitsusha progressed, it is like trying to pinpoint the middle of endless-ness, but here is a good compact "anthology" of what they did. This is them opening for John Zorn when he came to Japan, maybe as Naked City or whatever it is called, I don't have much knowledge about John Zorn. Fushitsusha had to perform a compact performance, and in this clip, part 4 of 7, you can witness:

1/ artaudian scream solo vocal structures, though better performed because haino keiji is not nor is dying of cancer
2/ the psychedelic loose but tight guitar and very pristine martial drum backing (was at first always surprised how restrained the bass and drums are but now I understand)
3/ at 4:12 a sudden emerged song, I guess it may be "omae/ you" but it would be hard to confirm this
4/ the coalesce-by-confront method between bass and guitar (prelude to the final in part 7)
5/ more of 1/ this time with bass and drum structuring at all edges
6/ bass and drum interaction with lovely harmonics, like geometries formed to (probably) be smeared after (in part 5 I suppose)

haino keiji/yamasaki ami - live

Lady Jane, shimokitazawa

Yamasaki Ami in duo with Haino Keiji -- unique moments occured. I wrote things in a notebook at the time, so here is a rendition of a transcription(I could not really read the handwriting), plus extra things as evidence for or to the contrary: Yamasaki began by blowing bubbles via a toy-shop-type implement, I suppose it was. Interestingly a bubble landed on our table right beside a glass of water that was a sort of free gift when ordering a whiskey. I naturally thought of object-oriented philosophy, in misguided romantic vision of it, imagining the bubble (that lasted almost an hour on our table) in sympathy to its fellow similarities in the water glass. The next thing she did was place a candle stub in her palm, held flat before her. She sang to it, in a sort of utterly gentle babble, like cooing; either she was singing to the flame, or she was imagining how the flame may be sounding its own self if it had appeared as the main act in a little wierd jazz bar live house. ______ (in the meantime haino keiji was being very quiet and unusually supportive, sat at a table, subtly manipulating what I take to be some sort of tone generator ((plus occasional close-miked percussive things) ) _______ (Yamasaki seems to be quite a young artist, I am thinking she is around 30, because I recognise in her that (mine too) generation's capacity for all-sorts, the similar in the multitude of experiences flung towards the artist (for the first time this sort of expansive action from the outside itself, towards those who may make things of it?) -- - bird song, the wine glass trick -- I recall no-one moving, at a moment of something like irish song? . . . the memories of widows . . . a period of vocal counting ( 1. . . . . 13, 14 . . . . . 15 ) caused a wierd pause, it went on enough not to be countdown -- there was a continuing sense of this "literalness" (as a sort of performance art? -- I don't know enough yet to judge the self-consciousness of it -- either way, it worked) in contrast to Haino Keiji's "ultimately-from-music" approach -(of course, all statements from Haino Keiji are best understood from a literal basis as referring to music as the all expansive subject

__________ As I always say, Our interaction with them brings life even unto those objects which are not living beings. The reverberation of this Fushitsusha breathes life into non-living sound reproduction equipment. ________ _ ____ ↑ (something from the booklet of a Fushitsusha album, it seems relevant) yamasaki ami used to have an very interesting blog but it has gone now -- this was where it was anyway, perhaps it will come back? yamasaki ami's blog

but didn't you know that already -- I don't feel I am saying anything intellegible to people who would not already know what I was saying. I can't decipher much more of my notes. I recall Haino Keiji began a version of "akai kutsu (red shoes)", a famous japanese pop-song/almost lullaby, and traded vocals with Ami-san. Here there was the impression of a jovial teacher, he hoped for her to reach a more-and-more ferocious voice.

photos stolen from here (the person loads too many photos on the one page so it is very slow, be careful)

anyone care to identify these devices?
↓

TOWARDS A DEFINITION OF "purple trap"

I may have come across the meaning of "purple trap" -- it took witnessing the merzbow/haino duo performance to figure out -- my thinking goes something like this:

1/ in an interview somewhere (probably in WIRE) merzbow says his music is partly inspired by the "freak-out" endings of performances by 70s rock bands, like erm, I am not an expert on this, surely the general genre and period is known to you?

1a/ there is a 70s rock band called "deep purple"

1b/ merzbow's point being that he starts his music where the pale rock bands end, at their so-called "freak-outs"

2/ also in an interview somewhere, Haino Keiji talks about most rock music just doing what is "possible", whereas he is interested in the "impossible" -- so we can see there is the similar sense in both musicians of the limit in "rock music", and their desire, if not in fact purpose, to surpass it.
- or the point is not to surpass anything because music, especially when performed live, is always on its own terms something, the history, as the point of departure of live performance, recedes to nothing. Music is on its own. The musician of the right conscience (it is probably a moral decision from the outset) is alone.

(This is connected to the song "My Only Friend" from the Challenge to Fate album -- the title is a reference to a line in "When the music's over" by the doors, and the line from simon&garfunkel "sound of silence" -- "Hello darkness my old friend" -- and the clearest indicator for how we should interpret Haino Keiji's words -- always as a literal expression regarding music. As he says in an interview, a friend in this sense means someone who is sharing his sense of what music is, which led him to feel isolated, and therefore start seeking "friends". But this is a really a matter for another day, it is prone to a sort of infinite regression or something . . . )

So as some sort of conclusion: a PURPLE TRAP is what is to be avoided when performing music, a fuzzy hipsterism, a psych-rock freak-out easy on the ears and attractive to the girls, careerism based on a rebel image . . .

I think this is one part of what the purple trap is.

(I will attempt to source most of the quotes and things above soon as my head feels more calm. Here is an important haino keiji interview for the time being: http://www.halana.com/haino.html)

--- the concert itself, 10th April, Superdeluxe ---

out of the three support acts, the ex- Birchville Cat Motel guy was good, the other two seemed to serve as a precursor of the purple trap revelation, un-adventurous takes on drone, full of cultural-appropriation ethnic bits &tc.

Merzbow used laptop, some held-same-way-as-guitar noise generating thing, and then moved to drums. Haino Keiji used guitar, vocals, air theremins, drum-machine, multiple looping of all.

I think the duo, KIKURI as they are called, are an exploration of that freak-out band end-space I mentioned above, it is something like a sustained climax, but completely different to that sort of thing as John Cage decried of Glen Branca, as referenced in this momus post ___>

It's hard to explain. There is that common type of a rock band ending, when they go all slow, you know what I mean, and it is such a cop-out, such a studied affect, such a purple trap.

That sort of thing is pulverized maybe.



-- other notes --

My enjoyment of drum machine haino keiji is steadily increasing. There are bass samples too -- it seems to project the spirit of fushitsusha

there were many western gaijin boys, all wearing the same kind of re-vamped "NHS specs", 3 stood together in a line all looked like brothers, a bit perplexed or something, transported from a just-started civil war . . .

haino keiji in mexico

we were about to go haino keiji live on 28th March, it turned out he was still in mexico because of an exploding plane landing in destruction in tokyo.

I was curious about what he was doing in mexico and found this marvelous poster. & here is an example of what happened there
There is a purpleish background.

Perhaps the pink downward strand could be mistaken for purple, reminding us all of the perpetual question: what is a "purple trap"


Now we are about to go see haino keiji and merzbow in the duo called "kikuri" -- there is an album, I do not have, it is called "pulverized purple"











---- ↓ -- unformed thoughts here present -- ↓ ----

I have been meaning to delve into fushitsusha, the unique Haino Keiji fronted band active from around 1978 until roughly the turn of the century, for a long time. I am feeling ready to start now, despite not having all my cds with me. I think I have figured out where to start, and will proceed, using the music I have with me, and allow the gaps to be there, knowing I know enough now, to let them be for a while.

I am going to discuss the music as it is and not use terms like "black fire", "cosmic black hole", "maelstrom" &tc. I will use the "white/black magic" concept as it is a term Haino Keiji used in an interview and I think it makes sense. I will not pretend to not be ignorant.

tentative wary plan:
1/ openings -- this will involve koko from the Live 1 album (2nd cd, last track), and pathetique (all of it) -- from there I will probably get to
2/ segments/sections -- the albert ayler type thing of composed/practisced sections being introduced when they seem fit during live performance. it's a continuation from openings. it involves recurrences of material (not just "song" performances in the different contexts) -- for example "fuwa fuwa" first Live, first track second cd, appearing in solo performances (and not only that, but my suspicion that the track often called "vertigo" is some sort of reduction/extension of "fuwa fuwa". Albums referenced: Live 1, 2, A Caution Appears, some Haino solo things -- I intend to veer away often
3/-4/-5/ . . . something about "long form" . . . who knows what will happen

comes in handy later

"As so often in Free Improvisation, one's listening veered from total scepticism - 'nothing is happening, it's complete chaos' - to rapt admiration as the musicians made invention palpable in the instant. Starting from degree zero, shorn of the capital investments and power-broking that have locked Modern Art in the gallery, Free Improvisation delivers its promise . . . "
^ -- from book on Derek Bailey by Ben Watson

That's how it is in the middle of a Haino Keiji concert, I thought while reading this on google books accidentally. Ben Watson doesn't like Haino Keiji, judging by something I can't find right now. But he expresses perfectly what I have often experienced.

ceased being (003) - 小沢靖

小沢靖 - Ozawa Yasushi - , long standing musician in 不失者 - fushitsusha - , died -- 7th February

His unique playing - knots of garbled glitch like texture coupled with pristine single notes that hang onto the rhythm - can be heard to good effect on records like "I saw it, that which before I could only sense" and the guitarless "origin's hesitation", incidentally the last fushitsusha release chronologically speaking.

He also produced many recordings, for example, those with a copy of the Aihiyo studio album may like to have a late-night listen (or whenever is convenient) particularly the final track, wherein pitch bass darkness is perfectly captured. "between night and morning"

ご冥福をお祈りします

old interview with ozawa andother fushitsusha members here

interesting sort of possible gateway into japanese underground for those of you until now reluctant here

灰野/solo night live/高円寺showboat

This is a twice a year post-midnight live, one near new year, the second in May as a birthday celebration.

- Let me say first we did not see the complete live, there was a break at 5.30am which we took to be the end, and Mio needed to work that day, so we left, but now I have found that there was another 2 and half hour set, until 8.30am, and it pains me to think on what was missed. But then I recall that I had said to myself, I will watch this live, as a little self-interred tribute to a european blogging chap called Dirk, who died of cancer at the age of 19 in July. So the live we saw, early morning of 31st, curtailed, is appropriate to that life being curtailed, also. So should I feel somewhat better. Life anyway is a ghoulish pantomine with no assistance but what we uselessly dream of (tricks of the light). Let me read signs where there are none. Next time I will read them more promptly to prevent any resulting 苦しさ　.

I cannot imagine another art-form being as impoverished when related to the work of just one practioner of it. Anthony Braxton in an interview somewhere on the internet mentions post-ayler music, and this is how to consider 21st century haino keiji 灰野敬二. Post-Aylers advance and survive rather than become fodder for romanticism. So the interest is in the continual process of "what is new", also a survival, beyond a common borderline (early deaths, an easy-to-imagine list, place antonin artaud here) so it is a true post-boundary music, and anything happens.

Instruments used included shamisen, tone generators, air theremins, flute, hurdy-gurdy, drum machine. I say included. First was an acoustic guitar performance, of what turned out to be "born to be wild", sung in english. The lyrics that I could understand: "explode into space" , "I never want to die", and "I was born to be wild". Naturally if it was not for those lyrics it could not have been identified. I was struck by how the message 0f the song become far removed from its "cool 60s rebel" reading, and became a simple primal statement: "born / to be wild", not an anarchist statement against the moulds of civilisation, rather a plain declaration of man as thing of the world, we can call it: animal.

Tone generators switched on. There was a feeling like being at sea. This electronic side acted as bookend for the half of the live we saw. A very rich noise cascade that clearly rose into ecstatic moments, to break down and rise again. In between: drum loops for vocals and flute play, a very rugged shamisen session (which showed how things can accumulate in order to be powerful i.e. it can take time), bass loops, the hurdy gurdy.

Anyways, anyway, if only there is a next time, and I can ascertain when it properly ends.

- photos may appear here, I can't bear to look right now
- images provided by the more and more wonderful Joan Mitchell

live/HouseiUniversity/ 楽しい音楽祭

this was a strange event, I think it was some sort of school project. Housei University was where fushitsusha played annual 7 hour or longer concerts usually around new year, until a few years ago. Apparently the hall they played at is being refurbished, and some students got some other place on the campus, and arranged some events, including this "enjoyable music festival" which started about half 4 and went on till half 10ish.
- I suppose it is normal here for universities to have convenience stores in them and escalators and things like that, sort of swish-bank/airport like.


ICHI - came on in stilts playing a harmonica. Did a set of mainly folk-tronic type stuff with accompanying glitch but all on acoustic and analogue instruments for some reasons. Occasionally charming.

MAS - "electronic jazz", and almost as bad as that sounded. Mio said it reminded her of "the corrs". I do not know where she has been finding the time to see or listen to "the corrs", but I am deeply angered like a beast awakened.

Ryusenkei-Body - a drummer and a computer person with additional "korg", wearing base ball caps and resembling the hyper one in "a-team", with a forlorn rotund faced bassist. The way rotund people who aren't into "biking" are forlorn. It breaks your heart. The music was glitch strewn and shattered like aphex cut-up 7 times with about 5 seconds of cohesion every 10 minutes and it was dead good.

aminome - mio says "aminome makes you think about death . . . the void . . . and stuff . . . my grandmother's bones (she had a tube directly to her intestines, so her bones lost their form in the furnace" (i.e. not "the corrs") I thought they were pretty good also.

TETRAGRAMMATON - this band had bought out the only other gaijin seen for the evening, because one of his country fellows was playing guitar. "I've been to India, I bring back these drones". The best dronesque things, the ones you take to meet your parents or to tour the place where they are buried, are self referential to the point of autism, like the whole world of all musics is occluded. sacred thingy name for god thingy can't do anything without referring to some tune or world music genre or something so they fail in my infallible factual opinion.

hose - a joke by retired art students. How we laughed.

Haino Keiji - had a special table that needed man-and-woman handling onto the stage by the vast throng of student helpers. It held his air theremins and drum machines. They made a bigger noise than everything else. It was dead good.

Then we played with some cats by the river before going to the future that has already been revealed.

- so that's september all done in and over almost

live/SuperDeluxe/SANHEDOLIN

- - - future addendum / i may as well put this down once again,. the date of event was august 21st for the compulsive record keepers out and about.
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On tuesday we managed to get out the bloody door and through the silly heat to make it to a concert in groove-spot Super-Deluxe, where there are things like the pecha kucha nights, in the gaijin and swish-nippon packed region of roppongi. We got off at the wrong station, or the wrong exit, it was probably my fault, but we emerged into an impressive blue-lit expanse of high-rise and chrome and rows of escalators in the outdoors night and after five minutes found an actual street where we began our navigation.

Super Deluxe is a basement space, bare concrete walls &tc, the drink prices finally remind me I am in Tokyo. Some techno type people were performing when we got there, there was a guitarist too and it was an inept over long thing with no real direction and certainly no climatic head rush moment. About three people were vaguely dancing but they turned out to be friends with "the band"
- mio opinion: "They were bit boring, floating lost sounds without any thought behind."

Various groovy people pass by. The band oninko are next, we had seen them before in some tiny place with humiliating toilet facilities, they are three girls and do a sort of naive meandering punk music that is very charming, actually


Sanhedolin 、サンへドリン　- which appears to refer to the Sanhedrin, 'an assembly of 23 judges Biblically required in every city' quoth wikipedia(apparently they were the ones who wanted to execute mr jesus) - is a drum bass guitar trio. It is a recent group, and seems to have been formed after fushitsusha became a duo before quietly vanishing. Its purpose in the haino pantheon appears to be a confrontational assault on the typical features of rock music. Compared to fushitsusha, who always seemed conscious of their performance as a ceremony, Sanhedolin are anti-ceremony - the one hour only performance is telling of this, but also the way the bass and drums operate, at first setting up rhythms with the expectation that haino will follow along, but instead he ignores or deconstructs them within seconds. Songs still appear, as the bass and drums attempt something supportive. They become like a mirror for a while. They don't know what's to come . . .



Mio reports that oninko sing about things like lost socks that were really good socks, and now they are lost

The sanhedolin concert started like a sort of well meaning thing, the guitar was doing delayed fuzzy euphoric tones that extended into an upbeat rhythm from bass and drums, everyone seemed happy.

There is a certain petulance in the performance, lots of adjusting of things mid-song, much like Mark E Smith, but keiji haino didn't start playing anyone else's instruments. (saw the fall live one time when mr smith stumbled over to the keyboards and started doodling, while his wife the keyboard player patiently stood to the side. He also likes to fiddle with all the amps)

It ended in the guitar being discarded and a shard of vocals being looped and keiji haino on his knees beside the effect pedals like a little boy building up into the longest prolonged scream I have witnessed in live music. The bass and drums had stopped and just looked a bit worried. After a while of extreme vocal noise loops with live interjections, the gig was signalled as over by a nod of haino head.

Mio reports that the last decipherable sung lyrics were かたはついていない "nothing has been solved yet"

haino live prelude before going to sleep

apologies for web lack : i was full of the spirit of the lord ; I was concerned about terrorism ; I joined a pyramid scheme ; I ran out of rum ; I was disappointed with the comments before realising it was all my fault ; I was troubled by what seemed vain-glory ; all is vanity ; I got a super famicom/downloaded doom2/needed to remember how to do a triple dragon-punch/how to use the ctrl,alt,shift keys in shotgun harmony

Well done, those who poised equiposicalllyi . . .

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Saw Keiji Haino in band Sanhedolin, in super deluxe, which is in the gaijin enclave of roppongi. As well as being a gaijin enclave, it is also a hyper fashion department store seemingly somewhere in the year 2019 when all the stuff happens in akira, or is it 2013 I forget.

What is the difference.

Not quite able now to talk about the live in detail, only to say, the stage as place of theatre is important, in the artaud sense, of reality being presented like a plague, and it means questioning all other "gigs" and "pleasure" / "fun", in the general sense, of, what the hell are you doing ?

- addenix
the newscaster above is my favourite, here is a more precise screen grab of his being :

note the cheekbones, people
there was the burning plane from taiwan and he managed with remarkable poise throughout.

much more to follow re: haino keiji live and things like that.

please be equipoise like news man !
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future addendix
you were all equipose and I applaud you