Banetoriko had a live performance at A Noisy Solstice. This event was organized by unsound.com, Gil Kuno. I played at Riverside the day before, so I was a little tired. But I think I had most emotional play I have ever had. Here’s the new video!

ばねとりこは先月22日にA Noisy Solsticeに出演しました。二夜連続ということもあり、疲れ気味でしたが、念のこもった演奏ができたと思ってます。これがそのビデオ！

The yokai of the night was Iyaya.

あの宵の妖は「否哉」。

この妖怪については詳しいことは分かっていないようです。石燕先生の創作妖怪のようですが、彼女は水面に浮かぶ姿を見て何を思ったのでしょう。そして後ろの水門は？

この妖怪が話しかけてる気がしました。あの夜、わたしは彼女の霊媒になりました。

Not so much information is left about this yokai. This yokai is said to Sekien’s (the yokai drawing artist in Edo era) creation, but it’s very uneasy image. What does she feel watching her reflection on water?  And what does that sluice mean?

I felt this yokai was talking to me. So I was her medium that night.

ばねとりこの演奏のあとはいつも浄められた気持ちになります。

I always feel purified after Banetoriko’s live. That night was also the case.

✻                             ✻                         ✻

さて、他の出演のハイライトは、

The highlights of other appearances are:

幕開けはGX・ジュピター・ラーセンさん。今回はザ・ヘイターズではなく、ソロ名義です。最近多用しておられるポンプかばん。氏の織りなすノイズは反復の到達点？かもしれません。わたしには鼓動のように聞こえた瞬間もありました。もうこの演奏する姿は極まった感があります。

Opening is GX Jupitter-Larsen.

This time is not under The Haters, but as GX. The picture shows his latest noise-instrument, which is pumping suit case! His repeating style of noise is the summit of all repeatist are looking for. I felt like I heard noise like heartbeat a little bit. This image shows indisputable ultimacy of his style of noise.

次はテレケイブズ。お美しい女性デュオです。わたしの注目しているノイズバンドで、その名の通り、遠隔洞窟音としかいいようのない質感の音のアンビエントなノイズ。とにかく音がいいのです。多数のエフェクト、音楽のこぎり、ギター、テルミンや、テープで織りなす地底音像は、他とは一線を画すと思われます。どんな音か聴きたい！方はここをクリック。この夜の写真を撮れなかったので、先ほどThe Handbag Factoryで行われたライブから。

The next is Telecaves. Duo by two beautiful women. This is one of my favorite band, As their name refers, their moody noise can be described only as sound of tele-caves. The texture is so beautiful. Their noise-scape of underneath the earth which is processed by many effects, guitar, musical saw, and others is unlike anything I have heard before. It’s crawling and echoing in inner-cave and outer space. To listen their sound, click here. I don’t have their photo from that night, so this picture is the  one from the live at The Handbag Factory in May.

こちらが主催者のギル・クノさんと尺八奏者で陶芸アーティストのショウシ・カノコハタさんらによるKuno-Kano。尺八の音をラップトップでプロセスして、幽玄な音を披露。尺八とノイズといえばわたしなどはすぐにオルガナムを思い出してしまうのですが、ここではそういった幽玄さではなく、キオ・グリフィスさんによるビデオ投影のようにどこか熱さを感じました。

This is Kuno-Kano, by Gil Kuno and Shoshi Kanokohata, who is a shakuhachi player and ceramic artist. They created subtle and profound sound-scape by processing sound of shakuhachi with the computer. When it comes to noise and shakuhachi, I instantly think about Organum. However, Kuno-Kano’s yugen (subtleness and profoundness ) was not that kind of. As Kio Griffith’s video projection shows, I felt slow heat rising up.

そしてトリを飾ったのがデミアン・ロメロ。マイPAを持ち込んでの重低音ノイズはスペース全体が共鳴する楽器と化し、パワフル。もっと聴きたい！ LAノイズ界の重鎮です。長年続けていらっしゃるLAのラジオKXLUのDJで、ノイズを紹介されております。日本のノイズも数多く紹介され、わたしはそこで灰野さんのハーディガーディの音を聴いて、愕然としたのです。低音というのはとても面白いと思います。昔、発電所のタービンの低音を聞いて、気持ち悪くなったと思えば、このように気持ちよくなる音もあります。

The final act was Damion Romero. He brought his own PA system. The low-frequency pulse engulfed the entire place, resonated, and the whole room became one instrument. Powerful. I wanted to listen more. He is one of the Los Angeles’ finest noise artist.  He continues his great contribution for noise scene, LA, which is playing noise as DJ on KXLU. Also, he introduced many Japanese noise. That show was where I heard Keiji Haino’s Hurdy-gurdy piece for the first time. I was astonished and blown away. I found the low frequency noise very interesting. One time, I had an opportunity to visit an power plant. The low-pitch noise from the turbine made me sick. On the other hand, like his noise, some of low noise feels good.