tori kudo

 

整えられた人はみな  all those who were rightly disposed

 

溝川さらさら

構築物のせせらせせら

骨の骨に肉の臭み

はためく布の埃

缶切りに捲れ

三つ編みのワイヤーは縒られ

無駄は無駄として

和三盆の家

鼠を飼う

描かれた影の灰を

溶かすまでに拡大されたピクセル

言い切りの缶缶

どうぶつ的な灰色

目鼻が付いた愛嬌

ぼんやり明るい二辺

埃の棚の心

行状ぎやうじやうの家族生活

影を落とすレモンの黄

溝ドブの光

顔は蝗

歯は鉄か？

意思疎通 芭蕉の路通

かけられていないnot manacled手錠のように

アンチェインだが入って来にくい

鼠捕りを溝ドブに沈める

泥棒猫も殺された

木に包丁が当たる

蕗を採って調理する

湿った山に木なんかは沢山生えているのだから

家の周りのは切ってしまっていい

三角と穴の空いた円の攻防

空漠のアサド屋ユンタ

year ring

単純な雨のブラウス

指の太さを測っている

 

 

DAEF#m
D EF#E DC#B EDC#
Eb FＧＦ Eb ＤC ＦEb Ｄ

昭和のにおいがする

〈昭和のにおいがする〉?

?・・だから・・久しぶりに・・・訳だ・・すめるらいく・・ ?

?平成三十年ハル帝都は昭和なのか？?

?baby killer居心地はどうだいbaby driverめいもくまるつぶれたねアサド屋ユンタ ?

?あ、かきつけかぎつけぎつねすまほせん。?

?専?

赤白水木に香典袋

往便復便間違えて

彼岸と此岸も間違えて

左も右も間違えて

開けると閉じるも間違えて

前菜主菜間違えて

男と女も間違えて

泣くと笑うと間違えて

闇を光と間違えて

入金出金間違えて

上りと下りを間違えて

出社と退社を押し間違えて

種と果実を間違えて

西と東を間違えて

夕日と朝日を間違えて

晴天雨天を間違えて

ブドウとヤマゴボウも間違えて

島根と鳥取間違えて

白と日本酒間違えて

 

生きると死ぬは間違えないが

始めと終わりを間違える

 

貸出返却処理間違えて

苦いと甘いを間違えて新宿新南口と南口を間違えて

新大久保と大久保間違えて

阪急阪神間違えて

100円玉と100ウォン玉を間違えて

中央特快と快速乗り間違えて

ユーロスペースとイメージフォーラムとアップリンク間違えて

花園三番街と五番街間違えて

檜と椹サワラ間違えて麦と雑草間違えて

ブレーキとアクセル間違えて

右折と左折も間違えて

葛根湯と小青竜湯飲み間違えて

お茶とコーヒー飲み間違えて

セーターの後ろと前間違えて

スリッパの右左間違えて

33回転と45回転間違えて

鍵を左に回すか右に回すか間違えて

電池のプラスマイナス間違えて

 

生きると死ぬは間違えないが

夢と現は間違える

 

 

束の間の平和もなく

臼歯を磨り合わせて

継ぎ目をずらしている

無価値を挽き

質量に水を加え

膨らまぬ純粋さを

過ぎ行かせようとする

 

衰えてゆくくらいは何でもなかった

消えていった子らは外の闇にいる

外の闇を裏返せばひかりになるが

内の闇は裏返しても闇で

虐殺さえもそこでは幸福だ

電波は量だから

耳がないほうが請求されない

整えられた服や磨かれた靴のために

外の闇には雨が降り出した

必然的に無害な型紙で織られたパターンを探す

上にあるものは下にもあったが

外に居る人も内に居るのだった

対応する結い方を眺め

その愛着が

虐殺の前に

頭上を越すようなものとして

仮想される

粉挽きの

外にも内にも通底するmundaneの

逃げの歌をうたう

 

 

 

 

 

 

What’s the main philosophy in Maher Shalal Hash Baz?

John Cage once stated that music is part of the play, and I agree with it. But when colaborating with playwrights, I feel that I still have to do music. I can not deny my personal musical inspiration sources. However, I believe that the process of transmitting it to participants in the band is also music. Maher stands on the side of music, and do producing a play. The latest album called Garakei was made in this way.

You like to put extra mistakes/changes in the music on purpose by teasing the players, abrupt changes etc. Can you elaborate on this approach?

I do not remember what happened during being absorbed in playing my guitar. Anything could happen in music. I am not free but I let the music be free as it likes. Its huge freedom has been disrupting my daily life, though.

I saw you playing piano at a Reiko Kudo show, which is complex and sophisticated; while playing the guitar in is rather robust. Is it easy to switch/combine these views of playing music.

Any instruments should be played on the history of rock music. Any deviation is possible according to what extent to be trained. When playing the guitar, I am playing the piano in my head. But when playing the piano, I am playing the piano.

At the Ateliers Claus concert, McCloud announced some songs were sometimes based on old pieces (like Rameau etc?), is this something you specially did for this tour or is this an approach used throughout Maher?

Flanders is the birthplace of so-called chamber “music” or of so-called “art” as “le tableau”, in the late Renaissance. At that era, Japanese met western music at the first time. I chose those early music in honor of that history. Furthermore, I thought such selection of score might give the participants good reason to play there. Each music needs a frame like tableau, picture, or a window, and the frame is consisted by language.

What are the main inspirations in your work?

Sorry, I live poetry.

How does the line up evolve? Do you meet regularly to play?

Maher has no members other than me. Players you saw there were who had worked hard for making travel expenses. Usually we are not talking about music but just how we are alienated in our daily labour. I would like to display their portraits working in offices and factories when we meet and play next.

How is collaborating with extern people/bands, such as Arrington De Dionyso and le Ton Mité? How is their input in the music making process?

They can not read scores, but no matter how they play on my song, I do not mind, because they are my close friends.

The Japanese underground known over here is rather the extreme part, while Maher Shalal Hash Baz works more in a naive/twee spectrum. Are there other bands out there in the scene with a similar view?

Maher had had a tree. Its branches were gent In the ’00s. But it seems to become diluted, accompanied by rising of SSW-like things that are deviated from the history of Rock. Rather, I think that Japanoise old school that branched from us in the mid80’s is more similar to maher even now.
On one hand, self-name “underground” who had not grazed or not touched the history of Rock that had been formed by a series of psychedelic vinyls of 60’s, seems to be increasing.

What are the future plans, any new records coming up?

I have come to start making a new album called “JU EST UN AUTRE”. At first when I found this phrase on the wall outside of the Ateliers Claus, I thought this graffiti was scribbled down by a refugee who had been learning new language. I had my picture taken in front of the wall intending to use it for my next album. But later I have come to know that it comes from “Les Illuminations”.