Makigami Koichi is publishing a book of lyrics in December 2019

Makigami Koichi is publish a book of lyrics this month and it's called "Shikou No Mousou" ("Suprematism").

As well as his music, Makigami has been known for his literary works, and contributed lyrics to other artists for years. Although he has published several books, they are about music and his activities. So this is the first time for him to publish a book like this.

The publisher is Shoshi Yamada, a tokyo publishing house renowned for its poetry works.

It has a supplemental note by Machida Kou, a fellow poet, novelist, and musician. Tanikawa Shuntaro, one of the most popular poet in contemporary Japan, wrote a word of recommendation for the book. The publishing date is scheduled on December 20, 2019.

Makigami said: "This is the first collection of my lyrics. Sort of belated, as I've been doing a band called Hikashu for 40 years. From the beginning, my lyrics are intended to be read independently, apart from music. Publishing this book is quite a thrill for me."

The book's price is 2,700 yen. There is also a set of the book with download code of accompanied music for reading. Its price is 3,700 yen.


Makigami Koichi "Shikou No Mousou"
Publisher: Shoshi Yamada
Publishing date: December 20, 2019
B6 size, 2,700 yen + tax
shoshiyamada.jp

Hikashu - Anguri in the Style of Unlanding (2017)

Hikashu - Anguri in the Style of Unlanding

1. Anguri / Anguri
2. Doremo Ga Seikai / All are correct
3. Shikou no Moso / Suprematism
4. Narisumashite Soro / Solemn Pretender
5. Tsubuyaku Kai / Selfish Shellfish
6. Iine / I Like It
7. Tomei Sugiruyo / Too Transparent
8. Ryokai Desu / Roger That
9. Zenhoui Ayashige / Omni Suspicion
10. Mamonaku Tengoku / It will be heaven soon
11. Aisenaiyo, Sonnanja / You cannot be in love, I guess
12. Chakuriku Shinaikei / In the Style of Unlanding
13. Iishitumon Desune! / Good Question!

Words by Makigami
Music by Makigami (3), Mita (6, 11, 13), Sakaide (1, 8), Sato (7), Hikashu (2, 4, 5, 9, 10, 12)

Hikashu:
Makigami Koichi - vocal, theremin, cornet, shakuhachi, mouth harp
Mita Freeman - guitar
Sakaide Masami - bass
Shimizu Kazuto - piano, synthesizer, bass-clarinet
Sato Masaharu - drums

additional musicians:
Mori Ikue - laptop on 3, 8, 13
Chris Pitsiokos - alto saxophone on 9, 10, 12
Fubuki Yukie - vocal on 6, 9
Afrirampo - vocal on 9
Inoue Makoto - synthesizer on 8, 9, 10, 12

Produced by Makigami Koichi
Recorded by Mark Urselli at Eastside Sound NYC on May 1-2, 2017
Mastered by Scott Hull at Masterdisk NYC

Released on October 10, 2017


In May this year, Hikashu had been in New York City. The band came to the town in order to take part in a concert and studio recording of Godzilla Legend, the solo project of ex-member Inoue Makoto. The next day after the concert at Japan Society, both group went into Eastside Sound, Hikashu's favorite studio, and recorded two albums. One is "Godzilla Legend V" which was released in September, and the other is Anguri, the 23rd album of Hikashu.

Anguri is not "angry," mind you, but a Japanese word describing "mouth-opened by surprise." You can see all the members doing "anguri" on the back cover of the album. In Japanese it's simply called Anguri, but the full English title is "Anguri in the Style of Unlanding."

The album has 13 tracks, seven of which are compositions, and the rest are improvised. As the title suggests, it's full of surprise, of course positively. All the songs are newly written especially for the album.

"Suprematism" is inspired by Black Square, painting by Kazimir Malevich. The band witnessed the iconic work during a Russian tour. There is also a refenence to White on White, another piece by the same author, the different title used for the song though.

"I Like It" is a mid-tempo song with humorous lyrics. It sounds quite relaxed as it could be described even as pastoral. Besides handclapping and female backing vocals, provided by Fubuki Yukie, a stage actress and singer, it has some cowbells which it's used to be in the possession of Blue Oyster Cult, so the band was told. Maybe this is the same one used for "(Don't Fear) the Reaper."



There is a person who always give promptly affirmative answer to any incoming email, hardly bother whatever it says. That habit comes to fruit as "Roger That."

The album closes with magnificient "Good Question!" which is based on Makigami's day-to-day interaction with smartphone AI.

Regarding improvised tracks, Chris Pitsiokos, a bright young saxophonist from NY downtown scene, and Inoue Makoto are contributed as guests.

The cover illustration, with impressive piercing eyes, is done by Kondo Akino, a Japanese artist who currently resides in NYC. There is also another piece on the liner notes. 

The album is available worldwide via HMV Japan.

1. Anguri
words - makigami, music - sakaide

Knocking on an obscure gate
To look for extraordinariness
Cartograph of pain

Being frugal and breathless
How long could this be
Or is this deep into the night

A series of crying
Located in the end of vocal chord
The pure land
Sprint of Buddha

Walking while the shoestrings remain untied
The sky is leaning
Clearing a puddle


3. Suprematism
words and music - makigami

What is it
What is it
There are some crackings on the black square

What is it
What is it
The absolute blackness of delibate darkness
gradually peeled itself off

Black Square
Black Square
Black Square
Black Square

What is it
What is it
There are some dullness on the white square

What is it
What is it
The light beamed from outside echoed on the daydreaming eye

White Square
White Square
White Square
White Square


6. I Like It
words - makigami, music - mita

I like it, I like it

Considering every situation
Considering every situation
Considering every situation

I like it, I like it

Driven by every sentiment
Driven by every sentiment
Driven by every sentiment

I like it, I like it

Loving the nice way
Loving the nice way
Loving the nice way

I like it, I like it

Being full of distorted function
Being full of distorted function
Being full of distorted function

I like it, I like it

Travelling with crooked eyes
Travelling with crooked eyes
Travelling with crooked eyes


7. Too transparent
words - makigami, music - sato

Making a bloody promise
with flaming heart
Ambushing quietly
Waiting for an encounter

Who are you
Too transparent
Who are you
Too transparent

Incitement sans tension
Decision sans mind
How come you leave a ring
Due to the relentless untoward events

Who are you
Too transparent
Who are you
Too transparent

Tacit knowledge
Eternal silence
Hanging foolishly
Soaked in shame

Who are you
Too transparent
Who are you
Too transparent


8. Roger That
words - makigami, music - sakaide

What town we are reaching for
(Roger that)
If we remain travelling like this
(Roger that)

Lives matter above all
Lives matter above all

Whatever happens
(Roger that)
Probably there are some dissents
(Roger that)

"Chakra Biraki" lyrics and its translation

Hikashu in NYC, May 2013.

Here's a translation of the words on "Chakra Biraki." The original pronounciations follows.


1. Tengoku Wo Nozokitai [Glimpse into Heaven]

Major thoughts and huge prayers fell into decline,
And everybody just hung their socks.
The practices of Inuits , the places to die in for African elephants,
and the muscles of Indians, all filled the socks.
Would you tell me the way how I should pray?
I want to glimpse into heaven,
Maybe even if it's disappointing.

There's such a mess in the heads.
The gum I'm chewing is also a mess.
Henzel and Gredel ate cakes and were taken in.
Even such perils have no meaning for such insensible people.
If there's Santa Claus, I wonder he let me know the way
How I should hung the socks in my room?
I want to glimpse into heaven,
Maybe even if it's disappointing.

Seeing the invisibles,
Please teach me such an enjoyment.
Hiding the visibles,
Please don't waste your life for doing as such.
An alley of Christmas, a carcass of Santa Claus.
The socks in my room has a lot of holes which someone unknown made.
Please let me know the way how I should spent the day?
I want to glimpse into heaven,
Maybe even if it's disappointing.


2. Mosura No Uta [The Song of Mothra]

introduction:
Welcome, everyone.
We are living in the atomic age.
But people, does that mean there are no mysteries of life?
Have all of its wonders become obsolete?
No! Life is not without its mysteries! Let's go up front.
This mystery is not a dream.
Tonight you will see the original life, the original mystery...
It is what I've discovered in my journey to the South Pacific.
I hope you enjoy the two lovely fairies.


Mothra oh Mothra
With thy everlasting
Mistic life
Respond to prayers of
Thy humble servants

Now resurrect Mothra
Gain a powerful life
Take us under your wing
Protect the peace
The peace is a way to lead us
Everlasting prosperity


3. Damekana?! [No Good?!]

No good?
No good?
No good?

No good.


4. Chakra Biraki [Chakra Opening]

Let me open your chakra.
Let me open your chakra.
Let me open your chakra.

Be here without a name.
Be here without a name.
Be here without a name.

A full of difficulties ahead.


5. Kibanda Bandana [Yellowish Bandana]

Bandana turned yellowish, bandana turned yellowish,
Bandana turned yellowish, bandana turned yellowish.
The heyday of youth has been over.
Mandara appeared, mandara appeared,
Mandara appeared, mandara appeared.
That's respectable.

It's hard to lead a social life.
Space and existence are just out of understanding.

Soap bubbles burst, soap bubbles burst,
Soap bubbles burst, soap bubbles burst.
That's a miscalcuration.
Infrastructure is shaky, nfrastructure is shaky,
Infrastructure is shaky, nfrastructure is shaky.
There's a supposition.

World economy is a mess.
The situation are still recognized superficially.

Tenioha and nǐ hǎo, Tenioha and nǐ hǎo,
Tenioha and nǐ hǎo, Tenioha and nǐ hǎo.
Wondering if the spirit of language is working.
The master refused, the master refused,
The master refused, the master refused.
The humorousness is irritating.

Bandana turned yellowish.


Note: Tenioha are particle words in Japanese grammar. It's actually consisted of four words - te, ni, o, and ha. They may be used as one word. Nǐ hǎo (你好) is "hello" in Chinese. See wiktionary for details.


1. Tengoku wo Nozokitai [Glimpse into Heaven]

Sekai wo kugiru ookina shisou mo inori mo chiniochite
Christmas no kutsushita wo tada burasageru hitobakari
Esukimou no fuushuu mo Africa no zou no shinibasho mo
Indian no kinniku mo sono kutsushita ni haraippai
do do donnafuu ni inoreba iinoka chikotto oshiete kurenaika
te te tengoku wo nozokini ikitai
gakutto surukamo shirenai kedone

atama no naka wa gucha gucha
kannderu gum wa kucha kucha
Henzel mo Gredel mo okashi wo tabete damasareta
donkan na yatsura niwa sonna kiken mo imiga nai
Santa Claus ga irunonara boku no heya nimo kutsushita wo
do do donnafuu ni inoreba iinoka
chikotto oshiete kurenaika
te te tengoku wo nozokini ikitai
gakutto surukamo shirenai kedone

mienai mono wo miru koto
sonna tanoshimi wakete kure
mieteru koto ni futa wo suru
sonna ikikata yamete kure
Christmas no uradoori Santa Claus no henshitai
boku no heya no kutsushita wa dare ga aketaka anadarake
do do donnafuu ni inoreba iinoka
chikotto oshiete kurenaika
te te tengoku wo nozokini ikitai
gakutto surukamo shirenai kedone


2. Mosura No Uta [The Song of Mothra]

introduction:
minasan yoku irasshai mashita
ima wa genshiryoku no jidai ni narimashita
demo minasan, kiseki wa mukashi no koto de shouka
soshite shinpi wa kotoba dake no mono de shouka
iie kiseki wa imademo arimasu
shinpi mo yume deha arimasen
dewa tadaima yori gendai no kiseki gendai no
shinpi
watashi ga nankai no kotou de hakken itashimashita
kawaii yousei wo goshoukai shimasu


Mothra Ya Mothra
Dengan Kesaktian Hidupmu
Restuilah Doa Hamba-Hambamu Yang Rendah
Bangunlah Dan Tunjukkanlah Kesaktianmu

Mothra Ya Mothra
Dengan Hidupmu Yang Gemilang
Lindungilah Kami Dan Jadilah Pelindung
Perdamaian

Perdamaian Adalah Hanya Jalan Yang
Tinggal Bagi Kami
Yang Dapat Membawa Kami ke Kemakmuran
Yang Abadi


3. Damekana?! [No Good?!]

damekana?
damekana?
damekana?

damekana


4. Chakra Biraki [Chakra Opening]

omae no chakra wo aketeyaru
omae no chakra wo aketeyaru
omae no chakra wo aketeyaru

namae no naimama sokoni iro
namae no naimama sokoni iro
namae no naimama sokoni iro

zento tanan


5. Kibanda Bandana [Yellowish Bandana]

bandana kibandana bandana kibandana
bandana kibandana bandana kibandana
seishun owatta na
mandara ukandana mandara ukandana
mandara ukandana mandara ukandana
sonkei shichatta na

shakai seikatsu mamanaranu
uchuu sonzai wakaranai

shabondama shibondana shabondama shibondana
shabondama shibondana shabondama shibondana
keisan kuruttana
infra fuandana infra fuandana
infra fuandana infra fuandana
soutei morattana

sekai keizai mama naranu
amai ninshiki kawaranai

tenioha de nǐ hǎo tenioha de nǐ hǎo
tenioha de nǐ hǎo tenioha de nǐ hǎo
kotodama todokukana
dan'na ga kobanda na dan'na ga kobanda na
dan'na ga kobanda na dan'na ga kobanda na
hyoukin sawatta na

bandana kibandana

Das Nasobem and Hi-Ai-Ai Island

In the 2011 spring tour, Hikashu regularly played "Hi-Ai-Ai Island," an album cut from the 1988 "Ningen No Kao" album. The song was revived at their gig after a long absence.

The arrangement was basically the same with the live version found in "Hikashu History," but this time it preceded a recitation of a poem by Mita Freeman. The poem is "Das Nasobēm" by Christen Morgenstern (wikipedia). Mita read it in original German.

Das Nasobēm

Auf seinen Nasen schreitet
einher das Nasobēm,
von seinem Kind begleitet.

Es steht noch nicht im Brehm.
Es steht noch nicht im Meyer.
Und auch im Brockhaus nicht.

Es trat aus meiner Leyer
zum ersten Mal ans Licht.

Auf seinen Nasen schreitet
(wie schon gesagt) seitdem,
von seinem Kind begleitet,
einher das Nasobēm.



The Nasobame

Striding on its noses
there comes the Nasobame,
with its young in the tow.

It isn't yet in Brehm's
It isn't yet in Meyer's
And neither in Brockhaus'

It trotted out of my lyre
when it came first to light.

Striding on its noses
thereon (as I've said above),
there goes the nasobame.

The lyrics of the song, penned by Makigami, was based on a strange book called "Bau und Leben der Rhinogradentia" by Harald Stümpke (wikipedia). It's about Hana Aruki, an imaginary creature described in the book. "Hana Aruki" is the Japanese name, endowed by Hidaka Toshitaka, the renowned scientist and the translator of the book. In original German, it's called Nasobēm. In English, it's called Rhinogradentia (wikipedia).

The original notes on the album, uncredited but probably by makigami, explains the song as follows:

Based on a book called "Bau und Leben der Rhinogradentia" by H. Stümpke, the song is about the descriptions and the impressions of Rhinogradentia, a creature walking by its nose.

The island which completely browned out by an atomic bomb experiment and the study of Rhinogradentia make a mockery of the common sense vividly. Also pretty inspiring. A mysterious song.

The Japanese edition of the book was published in 1987 and soon recognized as a minor classic by the connoiseurs. Makigami, an avid reader, was quite impressed with the book and wrote a song based on it.

Hi-Ai-Ai Island
words - makigami, music - mitama


The amazing nostrils
The spur of life
The warmness of nature
Hana Aruki
Hi-Ai-Ai

The living nostrils
Morgenstern was surprised
and wrote a poem about it.
Hana Aruki
Hi-Ai-Ai
Hi-Ai-Ai

The island was full of noses.
I wanna know your nice secrets.
Tidings on noses
Hi-Ai-Ai
Hi-Ai-Ai
Hi-Ai-Ai

Hana Aruki in despair
A pointless experiment was executed,
Then everything sinked
and disappeared.
Hi-Ai-Ai
Hi-Ai-Ai
Hi-Ai-Ai

The poem Morgenstern wrote referred in the song is no other than "Das Nasobēm."



Related Entry:
Hikashu - Ningen No Kao (1988)

Ikirukoto live in November 2010

Makigami recently uploaded a video of "Ikirukoto." It was recorded live on November 4, 2010 at Star Pine's Cafe in Kichijoji, Tokyo. Currently the number is usually played at early part of their concert. On the day, It was played after the opening, lengthy improvisation of the first set.

"Ikirukoto" is the title number of the album released in 2008. On the album, its duration is about 5 minutes, but at concert, it gradually stretched as the band played it. Occasionally they played it over 15 minutes.

The composition has a sort of open-form and now also works as a vehicle of collective improvisation. That's the reason why it tends to be played extendedly.

The video quoted here represents well how the number is played at their concert, and also included some essential elements of the band's performance, which are a) collective improvisation, b) non-verbal voice performance, c) an extensive use of unconventional instruments for rock music (like toys, thermin and mouth harp), and d) a prevailing sense of humor.

4:42 - Makigami blew a mysterious kazoo-like pipe, instead of the cornet which he usually uses at the break.

5:37 - There was a public announcement (or a message of initiation) to the audience: "Welcome to our concert. Just relax, of course I know you couldn't. Probably you all embarassed being here but there is no help. Just give it up ... The door was closed and nailed! You could do nothing but sit down and listen to this thing!"

5:48 - the band started a music like matsuri-bayashi (Japanese traditional music for festivals), and along with it Makigami quoted the famous opening remark ("Jikan Kurumade Tsutome Masho" - "We'll do our best until the due time comes") of the brothers comedy team from 1960s called Toyo Hidemaru and Asahimaru.

Toyo Hidemaru, Toyo Asahimaru



6:36 - Makigami quoted a lyrics of "Tokyo Ondo," a big hit of 1933 and still immensely popular dance tune for bon odori, a popular dance for traditional summer festival in Japan (If you would like to know the dance more, see the Bon Dance Gallery). Although it was out of context here and probably he did it without any reason, the band quickly picked it up and provided a proper accompaniment. Of course it was all done spontaneously. It is a good example that everything could happen at their concert.

A dance instruction video, using Tokyo Ondo for accompaniment.



As of musical quotation, the members practice it occasionally. For instance, there was an another example from the same concert. On "Nannimo Nai Otoko" ("The Man of Emptiness"), which is a number from the "Ningen No Kao" album, Shimizu Kazuto quoted the CM music of Kani Douraku, the famous crab restraunt chain, composed by Kida Taro. Kida is a very popular composer, who is also known as "The Mozart of Naniwa." (Naniwa is a nickname of Kansai region)

Kani Doraku CM



There is another video of "Ikirukoto" in December 2007 at the band's MySpace account. It is one of the earliest performance of the composition, fairly short and no stretched improvisation. For comparison, I provide a link to the video, here. Just take a look at how Makigami moved his eyebrows at introduction.



Ikirukoto ["To Live"]
words & music - Makigami

To live
To eat
To breath
To weep

Being here unknowingly
While not having a thing to know

To detour
To slide
To knit brows
To become worn

Dabida Dabida Sharishariba
Dabida Dabida Sharishariba

To live
To move
To travel
To dream

Turn into a flower when want to cry
Turn into a wind when being dull

To mimic
To persuade
To lose understanding
To flutter

Dabida Dabida Sharishariba
Dabida Dabida Sharishariba

Next New Release - "Nikoseron 3"

While we are anxiously awaiting for the "Ningen No Kao" reissue, it is just announced that the next new recording from Hikashu is going to be an EP, and its title track is a newly-recorded rendition of "Nikoseron."

"Nikoseron" is released for the first time as the opening and closing number of their latest album, Ten Ten Ten. Almost coincidentally with the release of the album, it was performed at their concert. It was remarkable; not only performance wise, but for the arrangement.

More precisely, the premiere performance of the composition before audience was at the Shibuya Quattro concert on December 26, 2009. From the beginning, the arrangement was considerably different; for the two studio-recorded version, the bass-clarinet of Shimizu Kazuto was prominently featured, and Sato Masaharu played mostly with brushes. Instead, at the live premiere, Shimizu settled with piano, and Sato played entirely with sticks.

At the performance, Shimizu commenced to reproduce the distinctive, sequenced rhythmic pattern with a concert grand, and subsequently he even took a solo with it. In a good sense, it was grandiose - fairly fast, but never lose or miss the rhythmic feel of the composition.

Even after that, the arrangement was changed many times - I suspect most of them are not preconceived but spontaneous - and nowadays it usually includes a drum solo but not restricted with it. For example, as I reported here before, at the Fuji Rock performance, in the concluding part of the drum solo, there was a short but memorable obliggato with bass-clarinet and cornet, and it even followed Sato singing the main melody in falsetto while playing the drums - it was incredible to see he masterfully sang the melody and kept the complicated rhythm at the same time.

It is highly likely that "Nikoseron 3" (both part 1 and 2 are on the "Ten Ten Ten" album, hence the name) has a revised arrangement, but I cannot tell it is the same with live performance. (and in the first place, which one?)

Anyway, Hikashu fans are in for a treat again.

Its release date is tentatively set on January 25, 2011, which is also Makigami's birthday. Rejoice!


Note: You could listen to the part 1 at Hikashu's MySpace account. Here.



Nikoseron (part 1)
words & music - makigami

It was yesterday evening when I became patient
Throwing questions to a fragment of transience

Stairway in station
Mails are prohibited
It must be on sunday;
to select the future

What infected was a life of inertia
Looked like being square;
inside it was rotten

Do not step on a flower in roadside
Take off your earbuds and turn the wheel

Who inflated is a genie of "before long"
Maybe it wants to catch onto the whiteness of udon*

It's nice to eat oranges
It's nice to keep walking like this also

Nikoseron
Nikoseron

I want to admit you
I want to absolve you

There are the seagulls above the sea, delivering prayer
It's not love
It's not peace


* udon (wikipedia) is a popular sort of noodle in Japanese cuisine.

"Fushigi o Mitsumete" is just re-released as a part of compilation album

various - Groovin' Showa 7


1. The Starlin - Romantist (Naked Mix)
2. Aburadako - S 60
3. S.O.B. - Ego Fix
4. Coa - Much
5. Friction - Crazy Dream
6. Totsuzen Danball - Drinco
7. P-Model - Ressha
8. Boredoms - Thalidomide Car
9. Yamamoto Seiichi and Phew - Masao No Yume
10. Hikashu - Fushigi o Mitsumete
11. Here is Eden - Memento Mori
12. Shakushain - Kill Them All
13. Omokage Lucky Hole - Sukina Otoko No Namae, Compass no Hari de Kaita
14. MiLK - Sukidake Nano Watashi Dake Sonja Nai
15. Hana Densha - Woo Rock
16. Ai Hiyo (Haino Keiji) - Sekai Wa Futari No Tame Ni
17. Moriyama Takeo - Mana


Released on November 10, 2010.


As I noted here earlier, the compilation album, which having now a kind-of-rare Hikashu track "Fushigi o Mitsumete," is just released. It is the seventh volume of the series entitled "Groovin' Showa," which is a selection of punk and new-wave tunes from the vault of Tokuma Japan Communications.

Tokuma Japan Communications is the record company which issued two Hikashu albums, "Acchi No Me, Kocchi No Me (Dazzling Eyes)" and "Orguss 02 OST," in early 1990s. Both album has been out of print for years and now hard to find. "Fushigi o Mitsumete" is the featured number from the latter album.

The song is just perfect. Pretty imaginative, lots of anticipation. Listen to it, and be impressed.

Available now via HMV Japan.


Fushigi o Mitsumete ["Watching The Wonderment"]
word - Makigami, music - Sakaide


Sometimes the world becomes mysterious,
Because of the dream which the light delivers.
Knowledge shines a light on the fragments,
But the mysteries deepen.

I want to know where it is.
You are far off in the distance,
smiling and waving to the concept called time.

To be sure, I'm watching the wonderment.

I'm stirring the world with the flat of my hand.
The vision center has been amid the fog.
The space is on the brink of going confuse,
And you are to become a little star.

The structure of living torments me.
My senses go paralyzed,
And the only thing I sensed is just you, shining.

To be sure, I'm watching the wonderment.