Showing posts sorted by relevance for query kan mikami. Sort by date Show all posts
Showing posts sorted by relevance for query kan mikami. Sort by date Show all posts

Friday, November 22, 2024

Besides Kan Mikami, are there other cult musicians in Japan? (ChatGPT, 2024-11-22)

 Yes, Japan has a rich history of cult musicians who have built dedicated followings through their unique, experimental, or subversive work, much like Kan Mikami. These musicians often operate on the fringes of mainstream culture, blending diverse influences and pushing boundaries. Here are some notable examples across various genres:


1. Keiji Haino (灰野敬二)


Genre: Experimental rock, noise, improvisation, and psychedelic music.

Why Cult?: Known for his intense performances and esoteric persona, Keiji Haino is a pioneer of experimental and noise music in Japan. His work with bands like Fushitsusha and his solo projects blend spiritual exploration with raw sonic power.

Notable Work: Watashi Dake? (1981)


2. Les Rallizes Dénudés (裸のラリーズ)


Genre: Psychedelic rock, noise rock.

Why Cult?: This mysterious and enigmatic band, led by Takashi Mizutani, became legendary for their raw, feedback-drenched sound and radical politics. Their live performances and bootleg recordings have gained a global cult following.

Notable Work: ’77 Live (1977)


3. Merzbow (メルツバウ)


Genre: Noise, experimental music.

Why Cult?: The project of Masami Akita, Merzbow is synonymous with the Japanese noise music scene. His abrasive and unrelenting soundscapes challenge conventional notions of music.

Notable Work: Pulse Demon (1996)


4. Yamataka Eye (山塚アイ) / Boredoms


Genre: Noise rock, experimental, psychedelic.

Why Cult?: Yamataka Eye, the frontman of Boredoms, is a figurehead in the Japanese avant-garde music scene. His projects are known for their chaotic energy and surreal creativity.

Notable Work: Vision Creation Newsun (1999)


5. Kazuki Tomokawa (友川かずき)


Genre: Folk, experimental.

Why Cult?: Sometimes referred to as a kindred spirit to Kan Mikami, Tomokawa combines raw, poetic lyrics with emotional intensity. His work is deeply personal and resonant, often exploring themes of despair and resistance.

Notable Work: Sakura no Kuni no Chiru Naka o (1975)


6. Shizuka (静香)


Genre: Psychedelic folk, dream pop.

Why Cult?: Led by Shizuka Miura, the band Shizuka created hauntingly beautiful and melancholic music. Their ethereal sound and Shizuka’s tragic life story contribute to their cult status.

Notable Work: Heavenly Persona (1994)


7. Phew


Genre: Post-punk, experimental.

Why Cult?: A key figure in Japan’s post-punk scene, Phew collaborated with members of Can and D.A.F. to create minimalist, hauntingly atmospheric music.

Notable Work: Phew (1981)


8. Takehisa Kosugi (小杉武久)


Genre: Avant-garde, improvisation.

Why Cult?: A founding member of Group Ongaku and a key figure in the Japanese experimental music scene, Kosugi’s work with sound art and improvisation is revered by avant-garde enthusiasts.

Notable Work: Catch Wave (1975)


9. Yoko Ono


Genre: Avant-garde, experimental.

Why Cult?: Although widely known for her association with John Lennon, Ono’s experimental solo work and contributions to the Fluxus art movement cement her cult status in the Japanese avant-garde scene.

Notable Work: Fly (1971)


10. Ryuichi Sakamoto (坂本龍一)


Genre: Electronic, avant-garde, classical fusion.

Why Cult?: While widely recognized as a member of Yellow Magic Orchestra and a celebrated composer, his experimental solo work has a strong cult following, particularly albums like Async (2017).

Notable Work: Async (2017)


11. Jun Togawa (戸川純)


Genre: Experimental pop, new wave.

Why Cult?: Known for her theatrical performances and subversive lyrics, Jun Togawa became a cult icon by combining avant-garde sensibilities with a pop aesthetic.

Notable Work: Tamaran (1984)


12. Ichiko Aoba (青葉市子)


Genre: Folk, ambient.

Why Cult?: A rising figure in underground music, Aoba’s ethereal voice and minimalist compositions have gained her a devoted global following.

Notable Work: Windswept Adan (2020)


13. Ghost


Genre: Psychedelic folk, experimental.

Why Cult?: Led by Masaki Batoh, Ghost is known for its spiritual, ritualistic live performances and intricate soundscapes.

Notable Work: Lama Rabi Rabi (1996)


14. Akiko Yano (矢野顕子)


Genre: Experimental pop, jazz fusion.

Why Cult?: A pianist and singer who blends pop, jazz, and avant-garde elements, Yano’s unique style and collaborations with artists like Ryuichi Sakamoto have earned her a cult following.

Notable Work: Japanese Girl (1976)


15. Haruomi Hosono (細野晴臣)


Genre: Ambient, folk, electronic.

Why Cult?: A founding member of Yellow Magic Orchestra, Hosono’s solo work, especially his ambient and experimental albums, is revered in underground circles.

Notable Work: Cochin Moon (1978)


Conclusion:


Japan’s underground music scene is incredibly diverse, encompassing experimental noise, folk, punk, post-punk, and avant-garde styles. These artists, like Kan Mikami, have created unique sonic worlds that resonate deeply with devoted fans while often remaining outside mainstream recognition.


Wednesday, August 8, 2018

Kan Mikami 三上寛 The World of Kan Mikami 三上寛の世界 1971

https://www.youtube.com/watch?v=XKxpNZ0SbBI&list=RD_RpKdKB-VAY&index=2

now, this one, is fucking, lyrical




你知道基本理性是拿來過日子的比如說明天上午十點個別督導下午三點去學校口試比如說二加三等於五蘭德報告說中國人沒有上述這個基本理性我不確定台灣是不是已經有柯文哲小時候可能有我確定三上寬沒有或決定不要有這是為什麼聽三上寬的歌聲四十年後你會感動的原因

Saturday, August 12, 2017

史在異人 史在野塚

https://www.youtube.com/watch?v=IsaXt7paGWE
https://www.youtube.com/watch?v=85mnIzJ50_g
https://www.youtube.com/watch?v=eFm4qR-y4Ho

異人不是異人館的異人也不是異國之人就是字面上的「異」人就是怪胎就是特立獨行的人就是社會化不及格的人這種不及格不是可以補考的那種是小於五十分死當的那種為什麼日本有異人的傳統今天下午我頂樓澆水去暑熱澆了五次平均一小時一次結果整個屋子涼起來在澆水的中間找到Kan Mikami, Kazuki Tomokawa, Maki Asakawa還不認識Shūji Terayama其中Kazuki Tomokawa彈吉他好像彈六弦琴Kan Mikami則很高興他也剃光頭十點多去機場途中跟D君說起此事我說為什麼日本有異人的傳統我說會不會是因為人口數超過值意思是說台灣兩千三百萬太少日本125583658人才夠D君說但是法國才六千五百萬也頗多異人我說會不會是因為文明富強超過兩代也就是至少五六十年以上才可能有異人的傳統但是台灣錢淹腳目的時間只有短短十年(1990-2000就是阿輝仔每天在鴻禧數鈔票的那十年)所以沒有而大陸到現在也不過富裕十六年(從2001加入WTO算起的話就是五百個家族巧取豪奪十四億人的九成九的血汗錢的那十六年)我自言自語D君沒有打斷我的話我說異人的關鍵在獨特的我那必須有容許獨特的我形成的環境和條件我說我先前說過我不同意黃光國強調儒家的關係主義就是因為那預設了先有我們就會有我這句話是大陸的罩門(獨特的我不是被原子化的我無法自由發展建立關係的我)但是台灣近一年多也相信這句話我說我相信先有我一個一個獨特的我再看這一個一個獨特的我要不要想不想會不會形成如何的我們換句話說先有我才可能有我們否則那個我們是假的是集中營門口掛的那句話ARBEIT MACHT FREI(勞動帶來自由)我說我是誰我願為台灣異人我珍惜島內僅存的少數異人雖然我們這個ROFC (Republic of Fart Child)條件明顯不足而且我不知道他們隱在那裡

Sunday, December 1, 2024

My friend, Daikanjyo (大勘定, 2002) is a Japanese jazz disc by Kan Mikami, et al, not a film. (ChatGPT, 2024-12-1)

 Apologies for the earlier confusion. “Daikanjyo” (大勘定), released in 2002, is a Japanese jazz album featuring Kan Mikami (vocals, guitar), Shoji Aketagawa (piano, ocarina), and Toshiaki Ishizuka (drums). The album was recorded live at Aketa No Mise, Nishiogikubo, Tokyo, on July 25, 2001.


The performances on “Daikanjyo” are characterized by free improvisation, blending elements of jazz, folk, and avant-garde music. This improvisational approach aligns with Deleuze and Guattari’s concept of the refrain, where established musical motifs (territories) are deconstructed and reassembled through spontaneous creation (deterritorialization and reterritorialization). In this context, the album exemplifies freedom by continuously redefining musical boundaries, much like the philosophical ideas discussed earlier.


For a direct experience of this improvisational freedom, you can listen to the full album here: