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sorosoroso · 5 years ago

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Article for Connect Magazine

I had a chance to write about a music artist I really love, and it will soon be published in Connect Magazine, which is a community driven project where expats living in Japan contribute articles about Japanese culture and everyday life. The issue my article will debut comes out in a few days. It is totally free to read and available online. Please enjoy below!

A Folkin’ Good Time: My Journey from Japanese Traditional Folk Music to 8-bit Technofolk

I stumbled upon Japanese traditional folk music the same way a horror film heroine might trip into a dark, deep pit in an old, creepy mansion: by accident.

And much like said heroine who suddenly wakes up in said mysterious, deep pit, I don’t even know how I got here. The last thing I remember is wondering about Japanese instruments and typing in “Japanese traditional songs” into a YouTube search bar, before being sucked in by the strums of shamisens and the dynamic vocals of Japan’s traditional folk singers.

Although it’s usually put under the umbrella term “min’yo”, there is no exact name for the genre Japanese traditional folk music belongs to. Sometimes they’re called inaka bushi (country melody), other times they’re called inaka buri (country tunes) or even hinata uta (rural songs). However, I think min’yo, whose kanji translates to roughly “the people’s chant”, is a weirdly accurate description of these simple, yet intriguing songs (and for simplicity’s sake, I’m going to be referring to them as min’yo from here on out).

In the same way certain foods or adorable mascots are part of certain prefectures’ identity, min’yo songs are another way for many regions in Japan to further distinguish themselves. Originally sung by lower class people, their purposes vary from work songs sung while toiling away in fields, to sacred religious chants performed during ceremonies. Many songs tend to have imagery of nature or details of everyday life, and often incorporate special dances or instruments during performances.

Take for example Japan’s oldest min’yo song: Kokiriko-bushi. Hailing from Gokayama village in Toyama prefecture, Kokiriko-bushi illustrates the natural flora and fauna of the village during the harvest season. A performance of Kokiriko-bushi is visually intriguing as well; performers move slowly across the stage in uniquely shaped straw hats, as others play the iconic binzasara instrument: an accordion-like apparatus consisting of many wooden slats that clack together to create the “dedereko-den” chorus of the song.

I fell in love with how all these elements came together into a cohesive experience. More compelling, though, were the powerful emotions behind each song. Each one seemed to condense the essence of feelings like sadness, happiness, or loneliness in a way that you could empathize with, despite the language barrier.

My appreciation for min’yo grew extensively throughout college, and during long hours of nighttime studying or downtime between projects and papers, I often listened to min’yo playlists to keep me company. Whether it was the more New Age, emotional ballads of Ikue Asazaki, or lo-fi recordings of televised performances from the 90s, I listened to it all. I wasn’t too picky, and even if I didn’t always understand the words, I let myself get swept away by the vibrant energy each song and performer exuded.

Unfortunately, my college roommate and study buddies didn’t quite share the same enthusiasm for min’yo, and I don’t blame them. I completely understand that min’yo isn’t exactly easy listening for a lot of people. It can be a bit grating at times, with tunes that don’t follow traditional Western note progressions, not to mention the sometimes startling kakegoe (call-and-response) that seemingly jump out of nowhere.

Older Japanese folks didn’t understand why I enjoyed the genre so much, either; even they found min’yo to be a relic of the past that didn’t quite have the chops to withstand the more international appeal of modern-day songs. For a lot of people, min’yo was something that only a few Japanese people sang, and even then only to demonstrate Japan’s nostalgic, rustic charm. I found myself having to agree with them. It seemed that min’yo was reserved for special occasions, like cultural events or TV specials, and so many recordings I enjoyed were decades old. Perfect preservation of the genre seemed to be the goal, and innovation was limited, if present at all.

And then I discovered Omodaka.

I was looking for more min’yo to listen to on the Internet (as per usual), and during a mindless return to YouTube’s homepage, I noticed a distinctive thumbnail.

A punchy, vibrant red background emblazoned with a stark white, minimalist graphic of an arrowhead flower; that’s all there was to it. The title was equally as simple: “Hietsuki Bushi”, uploaded by “Omodaka”. At the time, I had no idea what any of those words meant, but I was riding high on my min’yo video binge, so naturally I clicked.

Imagine my surprise when, instead of hearing the bare twangs of shamisen like I was expecting, I was hit with a lush, multi-layered 8-bit melody mingling with a classical guitar’s gentle strums. Before I could process what I was hearing, a loud, piercing, siren-like horn cut through, and jarring though it was, I only became even more entranced in whatever the hell YouTube just recommended me. I was totally immersed.

Then the vocals kicked in.

To hear the powerful voice of a trained traditional folk singer sing about a tragic love story from the Kamakura era was absolutely breathtaking, especially with the blips and thrums of the 8-bit chords accenting it every few measures. The singer’s notes swooped up and down with confidence, working alongside the digital landscape of the background music to convey the melancholic longing of the narrator. I’d never listened to such a wonderful marriage between traditional and modern musical aesthetics before, and as soon as the video finished, I was already eager for the next song.

As it turns out, the skilled vocals I’d heard on Hietsuki Bushi and on subsequent tracks belonged to classically trained folk singer, Akiko Kanazawa (whose min'yo rendition of the Beatles’ “Yellow Submarine” is definitely worth checking out), but listening to her other works, it was clear that someone else had a hand in the skillful mixing of chiptunes and traditional folk standards I was hearing. After a few music videos and a deep-dive Internet investigation, I soon discovered that Omodaka was not just a one-off, eclectic min’yo mashup duo, but a collaborative project that combines traditional Japanese music with contemporary visual artists. But, behind all of it is one man—electronic music producer and DJ, Soichi Terada.

An accomplished house techno artist and founder of record label Far East Recording, Terada has enjoyed listening to min’yo music since childhood, but felt he “couldn’t say that [he enjoyed min’yo]” to his friends because they weren’t interested in it. He experimented with min’yo/ house fusions, and over time, Terada developed a distinct sound that would define his label. Later on, spurred by a desire to collaborate with visual artist friends, Terada launched the Omodaka project in 2001.

The Omodaka project usually involves Terada’s friends creating fantastical, even psychedelic, animated music videos for his “techno folk” songs (a term Terada has coined to describe this niche genre). My personal favorites are “Yosowya-san”, with its side-scrolling 8-bit exploration of Japan’s gambling culture, and, of course, “Hietsuki Bushi”, an adventure of a love confession thwarted by portal jumping spacemen and a farmer/lion/bird chimera. Oh, and aliens. There are also several albums released under the Omodaka name too, each filled with songs beyond the wild, color bursting music videos.

Where the Omodaka project really shines, however, is during live performances. They are an unabashed bonanza of pure theatricality, with projections of Omodaka’s music videos flashing behind Terada as he waves around props like paper lanterns or bamboo flutes all throughout his set. Even Kanazawa makes an appearance during performances, singing to the audience virtually through the use of TV screens set up around the stage.

Especially striking is Terada’s costume when he performs as Omodaka. Instead of his trademark, brightly colored shirts, Terada comes onstage wearing a white, plastic mask, a shaggy black wig, and miko (Japanese shrine maiden) religious robes. As Omodaka, Terada transforms into an uncanny, barely human, androgynous entity whose only goal seems to be to get the audience’s blood pumping to some good ol’ technofolk.

Best of all, when you look into the audience during an Omodaka show, it doesn’t consist of solely geriatric Japanese; it’s diverse and, importantly, it’s young. I’m certainly no expert in methods of preserving a cultural property like min’yo, but I think that Terada is taking a step in the right direction to make sure min’yo will stick around for a bit longer. Sure, perhaps some purists may condemn Terada’s genre mixing as sacrilegious to everything traditional folk music stands for. However, when I see the audiences during Omodaka’s performances sway their bodies to Kanazawa’s trilling and yell back kakegoe to Terada, I feel that wonderful energy that drew me into min’yo in the first place. All I hope is that some of these people will also go back and listen to the music that led to the Omodaka project, and appreciate the unique sound of min’yo, too.

If you would like to check out the Omodaka project or Terada’s other works (he’s composed music for video games as well!), I highly recommend looking at his label’s YouTube channel: “fareastrecording” (all lower case, no space). If you search “Omodaka - Topic” in the search bar, YouTube even has a curated playlist with Omodaka’s entire oeuvre! Omodaka is also on Spotify. Furthermore, Terada regularly updates a Twitter account which announces future performances and other exciting news, like the October 28th release of Omodaka’s newest album in five years!

#>2000 #omodaka #minyo #article

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soundchannel · 5 years ago

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【パワープッシュ！！ご予約受付中！！】山本邦山 (HOZAN YAMAMOTO) / BEAUTIFUL BAMBOO-FLUTE -LP- (プレオーダー)

山本邦山 (HOZAN YAMAMOTO) / BEAUTIFUL BAMBOO-FLUTE -LP- (プレオーダー)

「山本邦山、イージー・リスニング・ジャズの極致！アナログ・リイシューは初！」 1971年日本フォノグラムから発売された作品。CDはユニバーサルからCD化されたがLPのリイシューは初。日本の民謡を山本邦山ならではの解釈で原信夫とシャープス・アンド・フラッツの重厚なアレンジが光るこれぞイージー・リスニング・ジャズの極み!!ロック・ビートのこきりこ節、グルーブ感あるハードな安来節、ワルツ風の佐渡おけさ、他これは今聴いても斬新な作品だ。

Artist&Title : 山本邦山 (HOZAN YAMAMOTO) / BEAUTIFUL BAMBOO-FLUTE -LP- (プレオーダー) Label : MR BONGO Format : LP Tracklist 1. こきりこ節 = Kokiriko Bushi 2. 佐渡おけさ = Sado Okesa 3. 大漁唄い込み = Tairyo Utaikomi 4. 相馬盆唄 = Soma Bon-Uta 5. 小諸馬子唄 = Komoro Mago-Uta 6. 南部牛追唄 = Nanbu Ushioi-Uta 7. 五つ木の子守唄 = Itsuki No Komori-Uta 8. ひえつき節 = Hietsuki-Bushi 9. 安来節 = Yasuki-Bushi 10. よさこい節 = Yosakoi-Bushi 11. 黒田節 = Kuroda-Bushi

● ご予約はこちらから！

http://soundchannel.shop-pro.jp/?pid=144708656

ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー

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masterkohta · 6 years ago

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2019.04/28 (sun) Omodaka live perform at West Harlem Support by RA-FI + Frequency Punch

Line up: Special Guest Live Omodaka

Ally Mobbs (Frequency Punch) Dawu (Frequency Punch) Sylcmyk Paperkraft Stones Taro (NC4K) Lo-max (NC4K) Aeonm (RA-FI) dj master kohta (RA-FI)

Release: 2019.04/24 OMODAKA / HIETSUKI BUSHI 7” ¥1,512 https://www.jetsetrecords.net/omodaka-hietsuki-bushi/i/816005571149/

start: 21:00 Entrance fee: 2000yen + 1Drink Get discount ticket at cafe la siesta!!! http://cafelasiesta.com

Venue: West Harlem 604-8024 京都市中京区西木屋町通り四条上ル紙屋町３６６レイホウ会館B１F

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thesobsister · 7 years ago

Video

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Omodaka, “Hietsuki Bushi,” Sanosa

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Live at Boiler Room Tokyo. If you’re a fan of Pizzicato Five, this might speak to you.

#japanese music #omodaka #soichi terada #kanazawa akiko #chiptune #electronic music

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mytaglist-yt · 5 years ago

Link

#mv #animation

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blue-item · 1 year ago

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ゲスト◇Omodaka （テクノ民謡パフォーマー）

「テクノ民謡とモーショングラフィックスの融合実験企画」として、2000年より楽曲制作、2009年からはライブパフォーマンスを始動。液晶ディスプレイに映し出された仮想シンガーと共にGBC、PSP、DS liteやタッチパネル式シンセサイザー等のデバイスを使い、巫女装束でくりひろげるパフォーマンスが特徴。日本のみならず、アメリカ、ヨーロッパの各都市で公演するなど、海外でも注目を集めている。第15回文化庁メディア芸術祭エンターテインメント部門では「Hietsuki Bushi」が新人賞を受賞している。・Official site ・Facebook ・Twitter

#Love力 #Omodaka #guest2023 #guestall

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brdc-a · 5 years ago

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RoseLoveの『Love力』 2019/05/25

今夜のゲストは・・・テクノ民謡パフォーマーのOmodakaさん

《Lesson 433》止まりさえしなければ、どんなにゆっくりでも進めばよい。 (｡-ω-)ﾉ

by 孔子（こうし/中国/紀元前552〜紀元前479年）

【CD情報】　

「 Hietsuki Bushi 」

7インチシングルレコード発売！ 2019年4月24日発売　1,400円(税込1,512円)

寺田創一のテクノ民謡プロジェクトOmodakaの代表曲と未発表音源を収録した7インチ! 宮崎県民謡「ひえつき節」をノスタルジックなエスノ・エレクトロ・ポップに仕立てた”Hietsuki Bushi”と、岐阜県の盆踊り囃子「郡上節」をモンド感覚のマンボ・ディスコ・ファンクへ改編した”Gujoh Bushi”をカップリング。 300枚限定！

詳しくはこちら

「MONKEY TURN」

12インチレコード　再発売！ 2019年4月24日発売　1,400円(税込1,512円)

寺田創一のテクノ民謡プロジェクト、Omodakaによる初期の名作12インチ。新品デッドストックが発掘されました!! '01年にリリースされた「競艇」をテーマにしたクリスタル・エレクトロ・ファンク・チューン"Monkey Turn"。寺田創一自身に加えて、コモエスタ八重樫、Dub Master Xによるリミックスを含む4バージョンを収録した、中古市場でも価格高騰中の人気盤です!

詳しくはこちら

【公演情報】

『ROMANTIC TECHOLOGY 』

日時：2019年5月26日（日）15:30 open 場所：恵比寿KATA(LIQUIDROOM 2F) 東京都渋谷区東3丁目16-6 チケット：予約￥2,500(1D別)当日￥3,000(1D別) 　19:55-20:40 Omodakaさん出演時間 !!

-LIVE- Sigh Society (Tableau mix maedomari) Omodaka Primula×msk MOC.邂逅 (VJ 島猛、金子哲) Mitaka Soundスーパークリーム CrazyRomantic

チケット予約はこちらから！

イベントサイト

【RoseLoveお勧めのBGM(^^♪ 】

①Candle Night ／RoseLove ②さみだれダイアリー/ブルー・ペパーズ ③リオ／マリアーナ・レポラーセ（「ゆるカフェ～Bossa」より） ④パンダの約束／源川瑠々子 ⑤HIETSUKI BUSHI／OMODAKA ⑥郡上節／OMODAKA ⑦桑名の殿様／OMODAKA ⑧MONKEY TURN／OMODAKA ⑨カントリーロード (TAKE ME HOME COUNTRY ROADS) ／tocamos!!（「つむぐ」より） ⑩夢の階段 /神尾憲一（「ぬくもりの中で」より） ⑪New Change／Sarah Reich （「New Change」より） ⑫hug hug doll／RoseLove（「RoseLove」より) ⑬RoseLove／RoseLove（「RoseLove」より）　 ⑭歩いても歩いても　／大島花子（「ひめりんご」より） ⑮長い間／Voja-tension（「UP!!!!!!!」より） ⑯Tomorrow／RoseLove（「RoseLove」より） ⑰If You Could See Me Now／三橋りえ（「A Time for Love」より） ⑱ぬくもりの中で／神尾憲一（「ぬくもりの中で」より）

＜RoseLove オフィシャルサイト＞

＜TOPに戻る＞

#RoseLove #Love力 #omodaka #テクノ民謡パフォーマー #寺田創一

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scrap-jam · 7 years ago

Video

youtube

Hietsuki Bushi (Full Version)

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jpegme · 8 years ago

Video

youtube

Hietsuki Bushi (Full Version) (via fareastrecording)

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poseydon · 9 years ago

Video

youtube

(via https://www.youtube.com/watch?v=hgurzQrbkC0)

#hietsuki bushi #omodaka #Soichi Terada

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soundchannel · 6 years ago

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【入荷情報】シャムキャッツ、BLYY、BLACK BONESなどなど！

こんにちわ！！！

お花見まっさかりですね！！！

ピンクの夜桜咲かせましょう！！

どーーーーーーーーーんん！！！

シャムキャッツ / はしけ -LP-【レコード / POPS】

2009年にリリースされたファースト・アルバム『はしけ』が待望のアナログ化！

「忘れていたのさ」「チャイナは桃色」「アメリカ」など初期の名曲がつまったシャムキャッツの原点的傑作『はしけ』！そのリリース10周年を記念して、アーティストの自主レーベルTETRA RECORDSよりカラー・ヴァイナル仕様で限定LP化です。

http://soundchannel.shop-pro.jp/?pid=140736785

LAST ELECTRO / NIGHT SYMPHONY【レコード / POPS】

大注目のフューチャリスティック・ソウル・プロジェクトのシングル��2弾！！

1月に発表されたデビュー・シングルも反響を呼んだ、Kan Sanoを擁する和製ネオ・ソウルバンド、Last Electro。シルキーでジャジーなフューチャー・ソウルに仕上がった表題曲に加えて、UKG通過後のビートセンスが発揮されたカップリング曲も素晴らしいです！

http://soundchannel.shop-pro.jp/?pid=141011863

BLYY / 精神の光 / FINGER【レコード / HIPHOP】

BLYYによるテン年代の東京アンダーグラウンド・ヒップホップ名曲が遂にアナログ化！

池袋を拠点に活動する、AKIYAHEAD、alled、CLAY、DMJ、Dzlu、DJ SHINJIからなるヒップホップ・ポッセ = BLYY。2013年8月にSUMMITよりリリースされたアルバム『THE SHIT 2』収録の「精神の光」と"finger"が5年越しの12インチ・カット！

http://soundchannel.shop-pro.jp/?pid=137480192

OMODAKA (寺田創一) / HIETSUKI BUSHI【レコード / CLUB MUSIC】

寺田創一のテクノ民謡プロジェクトOmodakaの代表曲と未発表音源を収録した7インチ！！

宮崎県民謡「ひえつき節」をノスタルジックなエスノ・エレクトロ・ポップに仕立てた"Hietsuki Bushi"と、岐阜県の盆踊り囃子「郡上節」をモンド感覚のマンボ・ディスコ・ファンクへ改編した"Gujoh Bushi"をカップリング。300枚限定です！

http://soundchannel.shop-pro.jp/?pid=139640699

OMODAKA (寺田創一) / MONKEY TURN【レコード / CLUB MUSIC】

寺田創一のテクノ民謡プロジェクトOmodakaによる初期のリミックス12"。デッドストックを発掘！！

'01年にリリースされた「競艇」をテーマにしたクリスタル・エレクトロ・ファンク・チューン"Monkey Turn"。寺田創一自身に加えて、コモエスタ八重樫、Dub Master Xによるリミックスを含む4バージョンを収録した、中古市場でも価格高騰中の人気盤です！

http://soundchannel.shop-pro.jp/?pid=139640719

UNKNOWN / RUNAWAY / LOVE MONEY【レコード / RE-EDIT】

限定リリース！！ディスコ史において最重要人物のひとり、ディスコ・ミックスの元祖の一人による覆面リエディット作品！！

ガラージのラベルも粋な1枚です！！THE TEMPTATIONSの『Runaway Child』を始め、大胆にリエディットしたGARAGE CLASSICSのリエディット盤！！

http://soundchannel.shop-pro.jp/?pid=142452128

BLACK BONES / BLACK BONES 5【レコード / RE-EDIT】

限定リリース！！毎回完売の人気リエディット専科レーベル『BLACKBONES』によるシリーズ第5弾！！

Bayou Funk、80年代スパニッシュPOP、80年中期UKヒットクラシック、90年代初旬までのウェザーオール的サイケデリアなアプローチが素晴らしいアイディア溢れるDJユースなエディット4発を収録！！

http://soundchannel.shop-pro.jp/?pid=139737294

DISCOBITS / FUNK FREAK EP【レコード / RE-EDIT】

リミテッドワンショットプレス！！コアなリスナーから絶大な人気を誇るリエディット専科レーベル『DISCO BITS』によるシリーズ第8弾！！

T-Connection / Do What You Wanna Do、Kiki Gyan / Keep On Dancing」等をネタにDJユースなリエディットへとアップデートした1枚！！リリースと同時にレーベルストックがソールドアウトとなり毎度完売の人気レーベルです！！

http://soundchannel.shop-pro.jp/?pid=142452476

★商品に関してのご質問お問い合わせなどお気軽にご連絡ください★

SOUND CHANNEL MUSIC STORE

岩手県盛岡市菜園2-1-9 102

営業時間 : 12:00~20:00

TEL : 019-601-6723

SOUND CHANNEL HP : http://sound-ch.jp/

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