Saturday, January 31, 2009
-Is there a particular work of art that has moved you?
Jan Fabre's "Warrior of despair"
-What is it and can you describe the experience?
It is a sculpture made from beetles. When I saw it in a museum, I thought it was the most beautiful thing ever.
Jan Fabre's "Warrior of despair"
-What is it and can you describe the experience?
It is a sculpture made from beetles. When I saw it in a museum, I thought it was the most beautiful thing ever.
Monday, May 21, 2007
.
1/ What are you doing in daily live? What's your day like?
I am doing...nothing...doing nothing worth to do... just sittin' on the dock of the bay, wastin' time.
2/ People ask you many questions, many mysteries, about MSHB as a band or loose network. But what's the truth? How does it work?
MSHB has not ever existed. It has been my solo with many "me". I am so childish that I can not distinguish others and myself.
3/ How do you feel yourself as a musician in Japan? How do your look to live and music?
I am a small musician in Japan.
(4/ small question: You toured in the past in Hokkaido playing tradional music with the local Ainu people. Was that part of your political mission?)
Not in Hokkaido. I once played and danced with a man who was Ainu in a slum area in Tokyo, as a part of my political activity. It was an orchestra for homeless people.
Recently I displayed my celamics at Oki's concert in Tokushima.
I am doing...nothing...doing nothing worth to do... just sittin' on the dock of the bay, wastin' time.
2/ People ask you many questions, many mysteries, about MSHB as a band or loose network. But what's the truth? How does it work?
MSHB has not ever existed. It has been my solo with many "me". I am so childish that I can not distinguish others and myself.
3/ How do you feel yourself as a musician in Japan? How do your look to live and music?
I am a small musician in Japan.
(4/ small question: You toured in the past in Hokkaido playing tradional music with the local Ainu people. Was that part of your political mission?)
Not in Hokkaido. I once played and danced with a man who was Ainu in a slum area in Tokyo, as a part of my political activity. It was an orchestra for homeless people.
Recently I displayed my celamics at Oki's concert in Tokushima.
Friday, February 09, 2007
Q:For your live band at least, it seems your band members are younger than yourself. Why do you surround yourself with younger musicians?
My father worked in a pottery workshop doing designs. He would teach ceramics painting to the wives of the mandarin farmers during their off-season, and they would mass produce handmade items. They made some good works, but they also produced some that were rife with inconsistencies.
...Perhaps I should've formed a band with a bunch of proper musicians like The Beatles did, but in my experience, it's difficult for me to make music with these types.
Q: Was working with this band what you expected?
I had no expectations. We just stuck this expensive mic up on high which could pick everything up, spread ourselves around it and recorded.
Q: On occasion, during live performances it looks like you're scolding your band members....Do you think you are a difficult person to work with? Why do you think the lineup of your band has changed so much over the years?
Two of the original members died, one became an alcoholic and entered hospital and one quit music.
Q: Could you tell me briefly about your background in jazz music?
I wasn't analysing the cords or practicising for hours on end and playing along to the sax player's bop cliches. ... I used to improvise.
Q: On occasion, during live performances it looks like you're scolding your band members....Do you think you are a difficult person to work with? Why do you think the lineup of your band has changed so much over the years?
When I tried playing an unannounced song with my band, I ended up going over to the bass player and plucking his strings while I played guitar and sang.
Q: Do you now think that recording mistakes, putting these mistakes on the record has become a cliche?
Even if I know I've made a mistake, I've arrived at some sort of conclusion. [On "L'Autre Cap"], I wanted to make an album to encapsulate this."
My father worked in a pottery workshop doing designs. He would teach ceramics painting to the wives of the mandarin farmers during their off-season, and they would mass produce handmade items. They made some good works, but they also produced some that were rife with inconsistencies.
...Perhaps I should've formed a band with a bunch of proper musicians like The Beatles did, but in my experience, it's difficult for me to make music with these types.
Q: Was working with this band what you expected?
I had no expectations. We just stuck this expensive mic up on high which could pick everything up, spread ourselves around it and recorded.
Q: On occasion, during live performances it looks like you're scolding your band members....Do you think you are a difficult person to work with? Why do you think the lineup of your band has changed so much over the years?
Two of the original members died, one became an alcoholic and entered hospital and one quit music.
Q: Could you tell me briefly about your background in jazz music?
I wasn't analysing the cords or practicising for hours on end and playing along to the sax player's bop cliches. ... I used to improvise.
Q: On occasion, during live performances it looks like you're scolding your band members....Do you think you are a difficult person to work with? Why do you think the lineup of your band has changed so much over the years?
When I tried playing an unannounced song with my band, I ended up going over to the bass player and plucking his strings while I played guitar and sang.
Q: Do you now think that recording mistakes, putting these mistakes on the record has become a cliche?
Even if I know I've made a mistake, I've arrived at some sort of conclusion. [On "L'Autre Cap"], I wanted to make an album to encapsulate this."
Tuesday, December 05, 2006
.
Q1.You told me that your lifework is write scores on our previous interview. Is it still the same on you ?
I ought to scan and keep them in a hard disk, but now I would rather throw them away.
Q2.Did you see any difference between writing scores and composing ?
Scores left behind are just frames, while composing includes all experiences concerned. I need friends who are kind enough to play my scores, while composing is just a personal affair.
Q3.Tell us about your impression of current line-up for MSHB.
Their hearts are not strong enough like current youngsters.
Q4.Tomorrow maybe a sunny day and good for go out. Where would you go with or without your family.
I could go anywhere for someone else but can not go just for me, because I have kept working until now and I keep working.
Q5.Orchestrated MSHB, how come ?
It might not sound new among degenerated famous musicians.
I ought to scan and keep them in a hard disk, but now I would rather throw them away.
Q2.Did you see any difference between writing scores and composing ?
Scores left behind are just frames, while composing includes all experiences concerned. I need friends who are kind enough to play my scores, while composing is just a personal affair.
Q3.Tell us about your impression of current line-up for MSHB.
Their hearts are not strong enough like current youngsters.
Q4.Tomorrow maybe a sunny day and good for go out. Where would you go with or without your family.
I could go anywhere for someone else but can not go just for me, because I have kept working until now and I keep working.
Q5.Orchestrated MSHB, how come ?
It might not sound new among degenerated famous musicians.
Monday, October 24, 2005
.
Growing Up[For example, what is your key childhood music memory? What kind of musical household did you grow up in? What did you listen to as a kid? What about your parents? Were they musicians too? Did you rebel and listen to Sex Pistols just to annoy them? How do you think your childhood affected you as a musician now?]
I liked Cesar Franck, and Gabriel Faure, that formed a core of my nursery rhyme. My parents' principle of art for art's sake had a bad influence on me.
Inspirations[who are your favourite musicians? Why? Do you remember the first time you heard their albums? Do you love the music or their attitude/clothes/lovers too?]
AEC with Brigitte Fontaine's Comme A La Radio forms the core of my lyricism. I heard it when I was in a punk band called "worst noise".
Your Band[So, tell us about your band. Who's in it, when did you meet, what connects you? Any major different musical opinions? How long have you been together? Who's the shy one, the joker, the Casanova etc.]
I could say that I certainly had members before but now I have just a loose network.
The Music You Make[OK, start listing styles, name-check your contemporaries and tell us about your releases. Who did you record with and where?]
I made 50 copies of cdr "unify my heart" last year and it would be my first and last album I made successfully.
Music, Right Here, Right Now[What do you think of the music scene at the moment? What are the obstacles musicians have to overcome? What's the best thing about the local scene? What bands have you seen lately that have impressed you? What do you think the future holds?
I am living in an unseen scene where is always in the doldrums. If 6 people liked you in net, it means you are more famous than the Beatles.
MAHER SHALAL HASH BAZ How did you arrive at the name of your band? Do you think it still relates to what you are trying to achieve? Has your understanding of what it means changed over time?
I think modern Assyria still would like to beat modern Samaria. I would not like to belong to neither but want to be a ship that loads the booty of Samaria as a sacrifice of music.
There is a certain amount of mystery associated with Maher Shalal Hash Baz. Is this something that you actively encourage?
Things that have no connection with each other often happen inevitably. But it must not be a mystery for me and I have been trying to swim against such kind of flow of the river.
What interests you in working with untrained musicians, how do you recruit people to play with?
I like recording some music using my score with children living near my house.
When I listen to Blues du jour, it seems quite carefully arranged, there are even elements of Bacharach, whereas in your live performance in aoiheya 2003 I had the sense that anything could happen, the music could go in any direction, it might work or fall apart at a moments notice. Is this something you want to achieve? If so why?
I have no time to arrange.
How would you describe the music you are making?
It is a kind of storming mercy judge with importunities.
Do you compose all of the music yourself or do you play spontaneously with the band to compose? And how much improvisation occurs when you play live?
Free improvisation is always the matter because inspiration is basicaly a personal affair.I had once tried to share our inspiration in the band. Each members' compositions were played while their diary site on the day of a taihoon called maon were shown on the wall through a projector. And I have come to know that any music does not stand on such kind of man-made democracy.
I have read that you previously played in noisy bands like a Suicide. I would think that Maher Shalal Hash Baz is almost the opposite of this music. Do you see any links between the two?
Sometimes I am noisy but sometimes not. It depends on my spirituality.
I understand that at times you have had from 2 or 30 people involved in the band. How many people are coming to Australia and what can we expect?
I have to make some new music after I come to Australia with someone new who I will meet up there.
I liked Cesar Franck, and Gabriel Faure, that formed a core of my nursery rhyme. My parents' principle of art for art's sake had a bad influence on me.
Inspirations[who are your favourite musicians? Why? Do you remember the first time you heard their albums? Do you love the music or their attitude/clothes/lovers too?]
AEC with Brigitte Fontaine's Comme A La Radio forms the core of my lyricism. I heard it when I was in a punk band called "worst noise".
Your Band[So, tell us about your band. Who's in it, when did you meet, what connects you? Any major different musical opinions? How long have you been together? Who's the shy one, the joker, the Casanova etc.]
I could say that I certainly had members before but now I have just a loose network.
The Music You Make[OK, start listing styles, name-check your contemporaries and tell us about your releases. Who did you record with and where?]
I made 50 copies of cdr "unify my heart" last year and it would be my first and last album I made successfully.
Music, Right Here, Right Now[What do you think of the music scene at the moment? What are the obstacles musicians have to overcome? What's the best thing about the local scene? What bands have you seen lately that have impressed you? What do you think the future holds?
I am living in an unseen scene where is always in the doldrums. If 6 people liked you in net, it means you are more famous than the Beatles.
MAHER SHALAL HASH BAZ How did you arrive at the name of your band? Do you think it still relates to what you are trying to achieve? Has your understanding of what it means changed over time?
I think modern Assyria still would like to beat modern Samaria. I would not like to belong to neither but want to be a ship that loads the booty of Samaria as a sacrifice of music.
There is a certain amount of mystery associated with Maher Shalal Hash Baz. Is this something that you actively encourage?
Things that have no connection with each other often happen inevitably. But it must not be a mystery for me and I have been trying to swim against such kind of flow of the river.
What interests you in working with untrained musicians, how do you recruit people to play with?
I like recording some music using my score with children living near my house.
When I listen to Blues du jour, it seems quite carefully arranged, there are even elements of Bacharach, whereas in your live performance in aoiheya 2003 I had the sense that anything could happen, the music could go in any direction, it might work or fall apart at a moments notice. Is this something you want to achieve? If so why?
I have no time to arrange.
How would you describe the music you are making?
It is a kind of storming mercy judge with importunities.
Do you compose all of the music yourself or do you play spontaneously with the band to compose? And how much improvisation occurs when you play live?
Free improvisation is always the matter because inspiration is basicaly a personal affair.I had once tried to share our inspiration in the band. Each members' compositions were played while their diary site on the day of a taihoon called maon were shown on the wall through a projector. And I have come to know that any music does not stand on such kind of man-made democracy.
I have read that you previously played in noisy bands like a Suicide. I would think that Maher Shalal Hash Baz is almost the opposite of this music. Do you see any links between the two?
Sometimes I am noisy but sometimes not. It depends on my spirituality.
I understand that at times you have had from 2 or 30 people involved in the band. How many people are coming to Australia and what can we expect?
I have to make some new music after I come to Australia with someone new who I will meet up there.
Tuesday, October 04, 2005
- Can you explain your choice of the band name, Maher Shalal Hash Baz? The Jewish encyclopaedia defines it as: (Hebrew) "=the spoil speeds, the preyhastens], in the Bible, name of Isaiah's son, symbolizing hope for Judahduring the Assyrian attack on Damascus and Samaria." (from Isaiah 8:3 - "Iwent to the prophetess, and she conceived, and bore a son. Then said Yahwehto me, "Call his name'Maher Shalal Hash Baz.' ) Does this have anyparticular meaning for you? What are the other associations of the name?
The footnote of Jerusalem bible says it means "quick spoil, speedy booty". I happened to see this longest name and liked its sound.
- Your music seems to have an emphasis on innocence, almost a child-likeapproach - is innocence a quality you value? what is the relationship between music and innocence?
Heterophony, is often considered as an expression on innocence, but it is a technique of ancient music. I dare say that the neat unison of orchestra is childish.
- Please tell me about your creative partnership with your wife, Reiko. Is it good for your marriage to work and create together?
I have been working with her since TENNO/NOISE LP (1981), and she is still a small tenno.
- What are some of your songwriting processes, and have they changed over the years?
Melodies have been written down super-quickly on convenience store's receipt found in my car while waiting at the crossing. I can not always read them again, though.
-You have said that Maher's music is based on punk. Who are your punk inspirations? How does the punk aesthetic apply in your work?
In front of me in my teens it seemed there were two types of music, music for playing and music for listening. It seemed both had never been mixed. It seemed like a spiritual battle around the matter of freewill and compulsion. Being easy yet unique seemed to be a key for playing the music for playing, while transcendency and mysticism could often be seen in playing the music for listening. I do not believe dictates like "our side"or "not our side" in music now, but at that time decadence seen in those life -size rockers seemed to be easy yet unique for me, that was all I knew.
- What reception do you get from American audiences, and how does this compare to Japanese audiences?
There are no city like Olympia or Glasgow in Japan. I have come to know that a band or a label could change the whole image of the town.
- What sort of a music "scene" is there in Japan? do you feel that you belong to a musical community of kindred spirits?
In Japan, a visional critic living around Koenji station is choosing who is real "underground" since 70's.
- Is it possible in Japan to make a living from music and art? what are the challenges facing Japanese artists?
Nobody shan't succeed unless succeeding some succession here dear.
- Could you please tell me a bit about your background? Where did you grow up? What was your family life like - do you come from a musical family?
I grew up in a rural area surrounded by nature. My grandfather was a painter and my father is a potter/designer and my mother is a modern artist. She likes buying instruments but do not play them often.
- Who were your formative musical influences as a young person? What music were you exposed to on the radio, and through other people's record collections?
The Beatles, T-Rex, and so on.
- Please tell me about your involvement with The Anti Japanese Movement and/or Eastern Asia Anti-Japanese Armed Front. What are/were these organisation/s' goals, why did you join and why did you leave? What are your political beliefs now?
Our propaganda was that any Japanese should had ceased to exist as being one of Japanese. One said that the intelligence of North Korea may led the movement at its very beginning. Some activists are now working for homeless people around Shinjuku station. I think it is still a nice idea to stop being one of members of a nation. I hate borderlines and manmade countries.
- I understand you make pottery, what other artistic pursuits are you involved with other than music?
Drawings.
- Where are you living now? (please describe your home & surroundings)
I am living in an open field. I have not got much time for vegetation.
- You have spent a lot of time and recorded in Scotland, do you feel a particular connection with Scottish people and artists?
A root of Japanese music came from Scotland when Japan opened its door to foreign country in 19th century. Celtic influence is still seen in child songs. That is why I like James Kirk because of his simple melody.
- Can you tell us what to expect from your Australian shows? What instruments are you bringing with you? Will your sets be largely improvised?
A kind of Australian pub rock will be played.
- What do you communicate with the audience when you are on stage and what do you get back from the audience?
Once someone contact with me, it means that he/she is invited to become a member of maher,
- Any other comments you would like to add:
..........an u.
The footnote of Jerusalem bible says it means "quick spoil, speedy booty". I happened to see this longest name and liked its sound.
- Your music seems to have an emphasis on innocence, almost a child-likeapproach - is innocence a quality you value? what is the relationship between music and innocence?
Heterophony, is often considered as an expression on innocence, but it is a technique of ancient music. I dare say that the neat unison of orchestra is childish.
- Please tell me about your creative partnership with your wife, Reiko. Is it good for your marriage to work and create together?
I have been working with her since TENNO/NOISE LP (1981), and she is still a small tenno.
- What are some of your songwriting processes, and have they changed over the years?
Melodies have been written down super-quickly on convenience store's receipt found in my car while waiting at the crossing. I can not always read them again, though.
-You have said that Maher's music is based on punk. Who are your punk inspirations? How does the punk aesthetic apply in your work?
In front of me in my teens it seemed there were two types of music, music for playing and music for listening. It seemed both had never been mixed. It seemed like a spiritual battle around the matter of freewill and compulsion. Being easy yet unique seemed to be a key for playing the music for playing, while transcendency and mysticism could often be seen in playing the music for listening. I do not believe dictates like "our side"or "not our side" in music now, but at that time decadence seen in those life -size rockers seemed to be easy yet unique for me, that was all I knew.
- What reception do you get from American audiences, and how does this compare to Japanese audiences?
There are no city like Olympia or Glasgow in Japan. I have come to know that a band or a label could change the whole image of the town.
- What sort of a music "scene" is there in Japan? do you feel that you belong to a musical community of kindred spirits?
In Japan, a visional critic living around Koenji station is choosing who is real "underground" since 70's.
- Is it possible in Japan to make a living from music and art? what are the challenges facing Japanese artists?
Nobody shan't succeed unless succeeding some succession here dear.
- Could you please tell me a bit about your background? Where did you grow up? What was your family life like - do you come from a musical family?
I grew up in a rural area surrounded by nature. My grandfather was a painter and my father is a potter/designer and my mother is a modern artist. She likes buying instruments but do not play them often.
- Who were your formative musical influences as a young person? What music were you exposed to on the radio, and through other people's record collections?
The Beatles, T-Rex, and so on.
- Please tell me about your involvement with The Anti Japanese Movement and/or Eastern Asia Anti-Japanese Armed Front. What are/were these organisation/s' goals, why did you join and why did you leave? What are your political beliefs now?
Our propaganda was that any Japanese should had ceased to exist as being one of Japanese. One said that the intelligence of North Korea may led the movement at its very beginning. Some activists are now working for homeless people around Shinjuku station. I think it is still a nice idea to stop being one of members of a nation. I hate borderlines and manmade countries.
- I understand you make pottery, what other artistic pursuits are you involved with other than music?
Drawings.
- Where are you living now? (please describe your home & surroundings)
I am living in an open field. I have not got much time for vegetation.
- You have spent a lot of time and recorded in Scotland, do you feel a particular connection with Scottish people and artists?
A root of Japanese music came from Scotland when Japan opened its door to foreign country in 19th century. Celtic influence is still seen in child songs. That is why I like James Kirk because of his simple melody.
- Can you tell us what to expect from your Australian shows? What instruments are you bringing with you? Will your sets be largely improvised?
A kind of Australian pub rock will be played.
- What do you communicate with the audience when you are on stage and what do you get back from the audience?
Once someone contact with me, it means that he/she is invited to become a member of maher,
- Any other comments you would like to add:
..........an u.
Friday, September 16, 2005
1. I have read your music described as an esthetics of failure. would you see your work (with Maher Shalal Hash Baz and beyond) as an ongoing experience with trial and error?
I can not decide what I should do for a show. So the members can read scores after the show begins. Error as goal is a gnostic excuse.
2. What is your connection with Australia? How did the tour come about?
I was thinking people were walking backward and doing handstand in the Southern Hemisphere, and I found its reversing phenomenon is fairly true when Guy Blackman said "!ailartsuA ot emoC"
3. Does touring internationally with large groups of musicians cause many problems?
Nothing would be a problem if the band holds its inspiration during being in abroad.
4.
I do not believe this Japanese superstition concerning with number 4
5. As the Maher Shalal Hash Baz line up is in constant flux, what can we expect to see from Maher Shalal Hash Baz when you tour Australia?
You may expect that I invite passers by in Melbourne and Sydney.. I hope so.
6. What is your connection with the band The Tenniscoats whom you are touring Australia with?
They are one of my satellites of love.
7. What new music from Japan would you recommended curious Australians to investigate?
gendaikazokuhttp://www.k3.dion.ne.jp/~mnt.web/gendaikazoku.html
8. While so many groups stick to very rigid concepts of what constitutes a 窶話and窶・(stable line ups, stable setlists etc.) are there particular reasons or feelings why you choose to forego these?
I think there is not so many stable things in last days and I just hold fast my reality at any cost until someone falls upon me.
I can not decide what I should do for a show. So the members can read scores after the show begins. Error as goal is a gnostic excuse.
2. What is your connection with Australia? How did the tour come about?
I was thinking people were walking backward and doing handstand in the Southern Hemisphere, and I found its reversing phenomenon is fairly true when Guy Blackman said "!ailartsuA ot emoC"
3. Does touring internationally with large groups of musicians cause many problems?
Nothing would be a problem if the band holds its inspiration during being in abroad.
4.
I do not believe this Japanese superstition concerning with number 4
5. As the Maher Shalal Hash Baz line up is in constant flux, what can we expect to see from Maher Shalal Hash Baz when you tour Australia?
You may expect that I invite passers by in Melbourne and Sydney.. I hope so.
6. What is your connection with the band The Tenniscoats whom you are touring Australia with?
They are one of my satellites of love.
7. What new music from Japan would you recommended curious Australians to investigate?
gendaikazokuhttp://www.k3.dion.ne.jp/~mnt.web/gendaikazoku.html
8. While so many groups stick to very rigid concepts of what constitutes a 窶話and窶・(stable line ups, stable setlists etc.) are there particular reasons or feelings why you choose to forego these?
I think there is not so many stable things in last days and I just hold fast my reality at any cost until someone falls upon me.
