灰野敬二 (EXPERIMENTAL MIXTURE)
日本の現代音楽において、その前衛的傾向を主導してきたミュージシャン。1971年に日本初のインプロヴィゼーションバンド「ロストアラーフ」を結成し、本格的な音楽活動を開始する。以降、現在に至るまで、ロックをベースに、ノイズ、サイケデリック、フリージャズ、民族音楽など、ジャンルを自在に横断しながら、アンダーグラウンドミュージック界を牽引。黒を基調としたコスチュームで、激しい身体性を伴うパフォーマンスを展開する。挑戦的で実験的な作品群は、日本のみならず海外での評価も高い。リリースしたレコードやCDは優に100を超える。ソニックユースのサーストン・ムーアをはじめ、彼を信奉するミュージシャンは世界的にも数多い。
When attempting to describe what Keiji Haino does to a guitar, the verb "play" seems terribly insufficient. Mauling might be a more appropriate choice, maybe even destroying. Whatever, whether it is as a solo performer or leading his tremendous trio Fushitsusha, Haino has been leading the loud, free form, noise-loaded, jazz/rock guitar movement in Japan for nearly three decades, starting with seminal noise-jazz/rockers Lost Aaraaff in 1971. He remains a virtual unknown, even among the music connoisseurs in his own country (I once asked a group of Japanese students, all of whom admitted to being eclectic music fans, about him, not one had heard of him) but his music as beautiful as it is coruscating is jarring, unpredictable and well worth hearing, especially by those enamored of those on the fringes of music performance.
Affecting a rock star pose (long black hair, ever-present sunglasses) Haino is an accomplished player who enjoys experimenting with undulating sheets of metallic sound. His solo recordings are frequently done live with no overdubbing, and Haino adds to the frenetic improvisatory mood by emitting shrieks and yelps as he strangles the neck of his Gibson SG. If you need a familiar example think of the more extreme moments of the late, great Sonny Sharrock, or Pete Cosey's envelope-pushing soloing with Miles Davis in the mid-70s. With Fushitsusha, however, Haino's playing is more nuanced and restrained, kind of like Bill Frisell or an introspective Fred Frith. That doesn't mean however that Haino and Fushitsusha are afraid of cutting loose and tearing it up, they are well-known (hell, revered) for turning up the volume and kicking out the jams, and the aural chaos is frequently stunning.
Not for the faint of heart or for those who compare every guitar player to Edward Van Halen, Keiji Haino is a tremendously exciting player. Granted his entire output is not essential (some of his solo recordings are repetitive), but when it comes to pushing the boundaries of music, noise, and where the guitar fits in this discourse, he has few peers.
DJ NOBU (FUTURE TERROR, Bitta)
千葉FUTURE TERROR主宰／DJ。DJに対するストイックな志、音楽への愛情、そしてパーティへの情熱、これらが一体となったそのプレイは、音楽に宿るエネルギーを最大限に増幅、圧倒的な存在感のグルーヴをダンスフロアへと投下し続けている。日本国内をDJで巡り培われたアンダーグラウンド・シーンのネットワークは独自の発展を遂げ、いまやこの国のDJカルチャーを語る上で外せないひとつの流れだ。’06年にデトロイト、’10年にはベルリン〈BERGHAIN〉にてプレイを敢行。’12年に入ってRA PODCASTへの日本人DJ初となる参加、自身によるレーベル"Bitta"（ビタ）を始動、今年3月末には最新ミックスCD『Dream Into Dream』のリリースを予定しており、その活動はアンダーグラウンドという括りを飛び越え、この国のダンスフロアを語る上で、もはや欠かせない存在となっている。
DJ NOBU is the kind of DJ who has devoted his life to the art of DJing and the magic of dancing. He is not a techno DJ nor a house DJ. His musical spectrum is wider than most current DJs. He's the purist in its truest sense when it comes to his profession - he's on another level compared to regular DJs you see in regular clubs when it comes to making people dance and taking them on a musical trip. He puts so much energy to his performance to ensure that he gives the dances an unforgettable experience at every gig he plays.
料金
door 2,000yen w/f 1,500yenこのイベントで問題がありましたか？
RAのチケットサポートに問い合わせる