Although Marihiko Hara had actually a childhood years full of songs of one kind or one more, he claims very early memories of it are clouded. One that sticks out plainly, nevertheless, is the face of singer-songwriter Scott Walker.
Hara, 36, keeps in mind his mommy paying attention to Walker each day, yet it’s just his face on the front of the cd cover that sticks to him. Still, something should have penetrated his subconscious as this Osaka-birthed and Kyoto-based author appears to attract on a great deal of different impacts for his brand-new cd, “Passion” — specifically the awakening eponymous track that opens it.
“My maternal grandparents were Christians,” Hara claims. “They were a host family for seminarians, mainly from Spain and Italy. I often spent vacations, such as summer, Christmas and Easter with them. I got familiar with sacred songs, I guess.”
In the center of “Passion,” throughout the track “Nocturne” particularly, this experience with the sacred pertains to the fore. There is a similarity in the ostinato to 16th century English author Thomas Tallis’ Canon, also known as the hymn “All Praise to Thee, My God, This Night.” Intentional or otherwise, the simpleness with which the track marches on with enthusiastic piano mirrors, also if faintly, cloistered choral songs.
While religious beliefs shows up to back its head on “Passion,” it might be the instance that those seeing seminarians, or instead where in the globe they’d originate from, had a more powerful impact on the musician. The initial item Hara ever before made up was influenced by, or at the very least called after, the far-off land of Mongolia.
“When I was 5 years old, I remember composing a short piece using only the black keys on my aunt’s electric organ,” he remembers. “She was also a piano teacher. I think I named the piece ‘Song of Mongolia.’”
Hara brings his passion in distant areas to “Passion” using tools from a wide series of societies. He claims he was eager not to incorporate these components yet rather attempted to produce a feeling of conjunction. The track “Fontana,” as an example, sluggish burns with the weighty, sharp vibration of shō, a Japanese aerophone containing 17 bamboo pipelines, joined fragile pressures of piano; “Confession” shines with waves of thick digital haze, and includes shimmering, sultry systems of santur, an Iranian zither struck with specifically formed hammers. Both tracks are pockmarked with noises from the native environment, tape-recorded by Hara himself.
“Field recording gives me time to focus on listening carefully while the recorder is on,” he claims. “So the flow and transition of sounds end up being a very good teacher for composition and mixing for me.”
Electronic and speculative noises have actually long belonged of Hara’s noise as high as the piano, which frequently acts as Hara’s base note — deep and strong. In reality, his 2009 launching, “Nostalghia” is ambient, scratchy, detailed and virtually pianoless. “Credo,” launched in 2011, with its removed back digital sounds, is ultraminimal, a story of fragmented, hurrying beats.
“Since I was a teenager, I’ve made beat-based music with synthesizers and sequencers in parallel with the piano,” he claims. “Once I started university, though, I got a Mac, and since then I’ve been writing music with a (more) electronic approach.”
It wasn’t till “Flora” (2013) that the piano actually started to take spotlight. Hara made it purposefully “badly recorded” for an experiment, not simply in make-up, yet in appearance, as well. His enhanced emphasis on the piano was possibly triggered by teaming up with post-classical author and guitar player Polar M on the cd “Beyond” (2013). Working along with musician Simon Fisher Turner to give the songs for Shiro Takatani’s 2012 performance “Chroma” was prominent also, as Hara’s ideas to end up being a musician, Ryuichi Sakamoto, likewise gave songs for the program.
“I decided to be a professional musician after I went to a Ryuichi Sakamoto concert. I was 13 at the time,” Hara remembers. “It is challenging to discover artists that are not affected by him currently.
“(With ‘Chroma’) I was lucky adequate to collaborate with Mr. Sakamoto, obtain near his songs and find out more,” he includes.
Naturally, even more performance complied with — some by dramatist Hideki Noda — linked with the ultimate launch of one more piano-heavy cd: “Landscape in Portrait” (2017). At the end of in 2014, Hara took his initial step right into movie soundtracks — “a long-held desire” — with “Eki Made no Michi o Oshiete” (“Show Me the Way to the Station”), a film adjustment of the narrative collection of the exact same name by Shizuka Ijuin.
It’s fascinating, after that, that “Passion” appears to drift up until now from pure piano-led tracks. Though its title track is definitely a declaration item for the piano — an actual key-thumping collision of abundant, cozy noises — and lots of tracks, such as the elegant “After Rain” (you can practically see fallen leaves dewed with fresh rainfall and odor the planet), are only piano numbers, there are lots of that aren’t.
The track “Vibe” really feels vaporwave in taste, including timeworn noises and a classic environment that summons this commercial-sampling design of songs; the coming before track, “65290,” with its knotting fuzzed-out beat and corroded synths, maybe much more so. What vaporwave and these components of “Passion” share is their transportive result: their capacity to blend the audience somewhere else.
His soundtrack for “Mood Hall” — a late-2019 collection of unique computer animations by Kyoto-based clothing Kawai+Okamura, also known as Takumi Kawai and Hiroki Okamura — really feels comparable. Experimental and digital, Hara’s songs right here rolls with jazz flexibility, hypnotic loopholes, a high temperature desire for appearance and otherworldly rooms.
“I believe music changes a space. I got that from working in theater and doing sound installations at art spaces,” Hara clarifies. “With ‘Passion,’ I went for this feeling of change, starting with a solo piano tune, after that relocating on to an abstract digital soundscape, and finishing with the solo piano once more.
“Music is not just a temporal yet a spatial art.”
Given the conditions, it’s not unsurprising that important songs, specifically of the ambient selection, has actually seen something of a rebirth lately.
“It tends to be background music, and I think listeners are free to find something in their textures,” Hara claims. “A listener can find a melody without a melody. It may be something like an inner voice.”
Having end up being a daddy for the very first time in springtime, for safety and security he and his family members are remaining at residence. Understandably, he confesses, “Music really saves me.”
For even more info on Marihiko Hara and “Passion,” see www.marihikohara.com.
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