Keiji Haino (灰野敬二) born 1952, May 3, in Chiba, Japan, and currently residin… Read Full Bio ↴Keiji Haino (灰野敬二) born 1952, May 3, in Chiba, Japan, and currently residing in Tokyo, is a Japanese avant-garde musician / shaman whose work has included rock, free jazz, noise, singer-songwriter, avant-folk, blues, solo percussion, drone and electronica, among others, always keeping the experimentalism and psychedelia at the highest levels possible.
He has been active since the 1970s and continues to record regularly and in new styles. His main instruments of choice have been guitar and vocals, with many other instruments and approaches incorporated into his career's work. Haino is known for intensely cathartic sound explorations, and much of his work bears an insular singularity, but his output has been so varied as to not always be recognizable as him.
Haino's initial artistic outlet was theatre, inspired by the radicalism of the Antonin Artaud-influenced Shuji Terayama. An epiphanic moment came when he heard "When the Music's over" and changed course towards music. After brief stints in a number of blues and experimental outfits, he formed the improvised fusion band ロスト・アラーフ (Lost Aaraaff) in 1970. In the mid 1970s, having left Lost Aaraaf, he collaborated with psychedelic multi-instrumentalist Magical Power Mako and film soundtrack composer Tōru Takemitsu (Toru Takemitsu).
His musical output throughout the late 1970s is scarcely documented, until the formation of his rock duo Fushitsusha (不失者) in 1978 (although their first LP did not surface until 1989). This outfit initially consisted of Haino on guitar and vocals, and Tamio Shiraishi on synthesizer. With the departure of Shiraishi and the addition of Jun Hamano (bass) and Shuhei Takashima (drums), Fushitsusha operated as a trio. The lineup soon changed, with Yasushi Ozawa (bass) and Jun Kosugi (drums) performing throughout the 1990s, but returned to a duo with Haino supplementing percussion with tape-loops.
Haino formed Aihiyo in 1998, principally playing a diverse range of covers (including The Rolling Stones, The Ronettes, and The Jimi Hendrix Experience), transforming the original material into Haino's unique form of garage psychedelia.
Other groups Haino has formed include Vajra (with underground folk singer Kan Mikami and drummer Toshiaki Ishizuka), Knead (with the avant-prog outfit Ruins), Sanhedolin (with Yoshida Tatsuya of Ruins and Mitsuru Nasuno of Altered States and Ground Zero) and a solo project called Nijiumu. He has also collaborated with a diverse range of artists, including Faust, Boris, Jim O'Rourke, Derek Bailey, Peter Brotzmann, Lee Konitz, Loren Mazzacane Connors, Charles Gayle, Musica Transonic and Fred Frith.
Haino cites a broad range of influences, including troubadour music, Marlene Dietrich, Iannis Xenakis, Syd Barrett, Jim Morrison and Charlie Parker. His recent foray into DJing at Tokyo nightclubs has reportedly reflected his eclectic taste. He has had a long love affair with early blues music, particularly the works of Blind Lemon Jefferson, and is heavily inspired by the Japanese musical concept of 'Ma', the silent spaces in music. He also has a keen interest in Butoh dancing and collecting ethnic instruments.
He has been active since the 1970s and continues to record regularly and in new styles. His main instruments of choice have been guitar and vocals, with many other instruments and approaches incorporated into his career's work. Haino is known for intensely cathartic sound explorations, and much of his work bears an insular singularity, but his output has been so varied as to not always be recognizable as him.
Haino's initial artistic outlet was theatre, inspired by the radicalism of the Antonin Artaud-influenced Shuji Terayama. An epiphanic moment came when he heard "When the Music's over" and changed course towards music. After brief stints in a number of blues and experimental outfits, he formed the improvised fusion band ロスト・アラーフ (Lost Aaraaff) in 1970. In the mid 1970s, having left Lost Aaraaf, he collaborated with psychedelic multi-instrumentalist Magical Power Mako and film soundtrack composer Tōru Takemitsu (Toru Takemitsu).
His musical output throughout the late 1970s is scarcely documented, until the formation of his rock duo Fushitsusha (不失者) in 1978 (although their first LP did not surface until 1989). This outfit initially consisted of Haino on guitar and vocals, and Tamio Shiraishi on synthesizer. With the departure of Shiraishi and the addition of Jun Hamano (bass) and Shuhei Takashima (drums), Fushitsusha operated as a trio. The lineup soon changed, with Yasushi Ozawa (bass) and Jun Kosugi (drums) performing throughout the 1990s, but returned to a duo with Haino supplementing percussion with tape-loops.
Haino formed Aihiyo in 1998, principally playing a diverse range of covers (including The Rolling Stones, The Ronettes, and The Jimi Hendrix Experience), transforming the original material into Haino's unique form of garage psychedelia.
Other groups Haino has formed include Vajra (with underground folk singer Kan Mikami and drummer Toshiaki Ishizuka), Knead (with the avant-prog outfit Ruins), Sanhedolin (with Yoshida Tatsuya of Ruins and Mitsuru Nasuno of Altered States and Ground Zero) and a solo project called Nijiumu. He has also collaborated with a diverse range of artists, including Faust, Boris, Jim O'Rourke, Derek Bailey, Peter Brotzmann, Lee Konitz, Loren Mazzacane Connors, Charles Gayle, Musica Transonic and Fred Frith.
Haino cites a broad range of influences, including troubadour music, Marlene Dietrich, Iannis Xenakis, Syd Barrett, Jim Morrison and Charlie Parker. His recent foray into DJing at Tokyo nightclubs has reportedly reflected his eclectic taste. He has had a long love affair with early blues music, particularly the works of Blind Lemon Jefferson, and is heavily inspired by the Japanese musical concept of 'Ma', the silent spaces in music. He also has a keen interest in Butoh dancing and collecting ethnic instruments.
I.
灰野敬二 Lyrics
We have lyrics for 'I.' by these artists:
A.V.T.K.S.N.S. Oh shit, lemme get right for this one Yeah yeah, yeah Just…
Andrés Perfume-Man Another moment spent in this place With shuttle jogs and scr…
BWV1058-No7-Gm R. --: Panasziroda, panasziroda, gyere el oda, …
Carl-Olof Anderberg Gloria in excelsis Deo et in terra pax hominibus bonae…
Empire Of The Sun When I was young The feeling was there It is still there Oh…
Enrico Onofri Con el más puro fervor siempre adorará mi fe la llama de…
J.S. Bach Concerto No.6 in F major BWV1057 Uh Uh Its its Its more than you Its more than you They gone …
J.S. Bach Concerto No.7 in G minor BWV1058 Uh Uh Its its Its more than you Its more than you They gone …
Mac Mafia Let's take it back to where it all started The first…
Master/Slave Relationship Whenever there is birth or death, The sacred veil between th…
Operación Triunfo 2020 So No One Told You Life Was Gonna Be This…
Pol Bordas Trobo que tolero massa que No em busquis fa massa que Espero…
Shallov I was the one who dragged you thousand miles away…
Woe Is Me Morning comes and darkness goes But the walls around my hea…
Woe. Is Me Morning comes and darkness goes But the walls around my hea…
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ちゃんもろ
500字 以上 かよ笑
それはだるすぎて無理だ
音と音の距離感を感じるジャンルです
技術がある人ほど予想できない音の展開で
音と音が交通事故を起こしたような鮮烈さというか
曇った空からふいにぱぁっと光がのぞいた瞬間のような
無作為や偶発性という手段によって、音楽という型にはまった予測可能なものから離れた
音が持つそれ自体の 印象 のみを抽出しようとする試みです
Ernest Eison
I'm surprised this isn't getting more radio play.
Ayj Yaremchuk
@Texmenistan Also cringe
XTRO 533%
@Texmenistan cringe
Texmenistan
where on Mars, Planet Z, Channel Z, or Planet Claire? He'd be eaten at the bar scene in Star Wars IV movie 😂 ...or as us original viewers called, the first Star Wars movie.
how do y'all know, that he might be having an epileptic seizure on stage instead, rather confusing it for a performance, and no one has figured it out, and rendered some medical assistance? 😃
GATA RAMEN REVIEWS
he was actually banned from japanese radio funnily enough
Manmaas
The ending explains so well how this works. Total improvisation, each feeding off the sound of the other, listening intently and expressing the moment as it happens. They both recognise a completion of the cycle in the silence of the final note.
Julio Reis
Maravilhosa performance acústica da sonoridade contemporânea e diversificada do grande mestre Keiji Haino, simplesmente um gênio expressando ao mundo sua fúria poética personificada pela alma do instrumento !
Master Junky
Un genio che in pochi possono comprendere
dohertm2
I want this played at my funeral.
Ayj Yaremchuk
fool