Oorutaichi muses on the technology of music and the benefits of collaboration.

 

Oorutaichi. Photo by Jono Ryan.

 

I first heard of Oorutaichi in 2005 when I was buying everything that came out on the Idjut Boys label, Bear Funk. Misen Gymnastics was a playful, poppy jam that seemed to come from another planet with focused distortion, strange vocal verses, original melodies, and a strong percussion laden rhythm. The track and its two smoothed-out remixes stayed in rotation longer than most. Fast forward to 2011 and the release of his third full length album, Cosmic Coco, Singing for a Billion Imu’s Hearty Pi. Released only in Japan, it is a colorful tapestry which sounds as fresh now as it did then. I want to call it future pop, but it proves that the future is now. The album also features amazing remixes of the single, Futurelina, by Daedelus and EYE from Boredoms.

Oorutaichi is truly an original artist with a unique vision. An ardent collaborator, his music seems almost ego-less, to be enjoyed by young and old alike, from a kindergarten to the dancefloor. On Friday November 16, Japan Society will host Cosmic Coco with Oorutaichi featuring an always energetic multimedia performance. We spoke briefly through email in October about the advantages of technology in art, the importance of collaboration, and the meaning of Oorutaichi.

Translated by Monika Uchiyama

Scott Davis What were you like as a child? Where did you grow up?

Oorutaichi とても人見知りでおとなしい子供だったと思います。 日本の奈良県というところの少し寂れた町で育ちました。

I think I was a very shy and well behaved child. I grew up in a slightly deserted town in Nara, Japan.

SD What are some early musical memories?

O ハイスクールのときは大竹伸朗(Shinro Otake)とEYEさんの“PUZZLE PUNKS”に影 響を受けて、カセットレコーダーを片手に公園や資材置き場に繰り出して即興録 音を繰り返していたのがとても良い思い出です。

I was influenced by Shinro Ohtake and EYE’s “Puzzle Punks” when I was in high school, and I have fond memories of going to the park or scrap yard with a cassette recorder to make improvised recordings.

SD Do you think your surroundings influence your music?

O 僕が育った奈良県は当時、自分のやりたい音楽をやれる環境ではなかった。ラウ ドな音楽は禁止というライブハウスがあったり、志向が合うメンバーも満足に見 つからないという感じでした。あとは学校などの集団生活にまったく馴染めなか ったり、そういう色々なマイナスの要因がさらに自分を音楽へと駆り立て、さら にBoredomsや少年ナイフなど自由なミュージシャン達が活躍する隣の都市、 大阪への憧れになっていきました。 当時の関西のノイズ、スカム、オルタネイティヴ、ハードコアのシーンは本当に おもしろいものでした。

Nara, where I grew up, wasn’t a place where I could make the music that I wanted. There were venues that banned loud music, and I couldn’t find band members with similar tastes. Also, I didn’t fit in with school group activities, so all these negative aspects drove me to music even more. I also was drawn to the city next to mine, Osaka, where musicians such as Boredoms and Shonen Knife were active. The Kansai noise, scum, alternative, and hardcore scene back then was really interesting.

SD Your music is extremely colorful. Do you think you are synesthetic?

O はい、とてもカラフルなんだとおもいます。自分自身はモノトーンな音楽も大好 きだし、なぜ自分の音楽がカラフルになるかはわかりませんが、自分の表現とし て自然に出てくるものです。

Yeah, I think it’s very colorful. Personally, I like monotonous music too, so I don’t know why my own music is so colorful. It just comes naturally when I express myself.

SD Your music is also playful and friendly, do you hope for that? Why?

O そうですね、それも自然に出てくる表現です。なぜだかわかりませんが・・。曲 が思わぬ方向に展開していったり、カオティックな感じや聴いたことのない感触 を好むのは多分遊び心(playful)で、それをちゃんと曲としてポップに仕上げたいと いう気持ちが聴き手をフレンドリーな気分にさせるのかもしれません。

Yes, I think that also comes naturally. I don’t really know why . . . The unexpected direction a song takes, or how the chaotic or unfamiliar sounds that I lean towards probably lends to the playfulness of it. And because I want to take that and create a pop song, that might be what makes the listener feel that it is friendly.

SD You play acoustic instruments but also make music using new technology. How do you think the instrument or tool helps to guide the inspiration?

O 最近はアコースティック楽器の素晴らしさに改めて気づいています。もしくは楽器ではなく歌うことだけでも、演奏したり歌ったりしながら体を通して見えてくる心の動きなどがとてもおもしろいと思っています。 テクノロジーは僕にいろいろなものを与えてくれました。 波長が合う新しい楽器やソフトのプログラムなどはいつもあたらしいインスピレーションを与えてくれます。 理論的な音楽の教養が無い僕でもコンピューターでそれなりのものが作曲できるし、現在の世界のエレクトロニックミュージックシーンをみれば明らかですが、センスがあれば感覚と魂だけでベッドルームから広い世界につながっていけます。楽器が弾けなくても自分の内的な音楽性を掘り下げていくことも出来ます。そういうチャンスがテクノロジーによってたくさんの人に与えらたことはとても素晴らしいことだと思います。 ただ、どんな時代に生まれてもどんな環境であっても僕は音楽を楽しんで、いろんなものからインスプレーションを受けていたと思います。結論的に言うと音楽をやることに関して、テクノロジーも楽器も必要ないと思っています。

Lately, I’ve once again realized how wonderful acoustic instruments are, or even simply singing. The feelings that become apparent through playing and singing are very interesting. I’ve gained a lot of things from technology. I get a lot of inspiration from programs on new instruments or software that fits my vibe. Even though I haven’t had an education in musical theory, I can write something substantial on a computer, and it’s clear if you look at the current electronic music scene that if you have good sense and soul, that’s all you need to connect to the world from your bedroom. Even if you can’t play an instrument, you can still delve into your inner musicality. I think it’s wonderful that technology has provided a lot of people with chances like this. However, no matter what era or what surroundings I was born into, I think I would have been enjoying music and been inspired by many things. In the end, I think in order to play music, neither technology or even instruments are necessary.

SD Are those words that you sing? How do you feel your use of vocal sounds instead of words helps you in the music process?

O 歌や自分の音声を曲に組み込むということは自分にとって、とても重要なポイントだと思っています。自分の声を吹き込んだ時点から、その曲がより自分のものへと変貌し、その曲に対してより深く入っていくことが出来ます。

Incorporating my own voice and singing in the music is very important to me. The moment that I record my own voice, the song transforms into something that is more my own, and I’m able to immerse myself in to the song even further.

SD Do you do/have any other creative interests other than music? I know you often collaborate with modern dancers.

O 私は頻繁にダンスカンパニーに曲を提供しています。特にダンサーの康本雅子さんとのコラボレーションは(Masako Yasumoto)いつも刺激的なものになります。 先日は湯浅政明(Masaaki Yuasa)監督の『Kick Heart』というアニメーションの音楽と音響を担当しました。両者ともとても自由な表現の持ち主で芸術のパワーと自分を信じる力をもった素晴らしいアーティストだとおもっています。

I provide music to dance companies often. Collaborating with dancer Masako Yasumoto is always exciting. Recently I was in charge of music and sound for director Masaaki Yuasa’s animated film Kick-Heart. Both of them are wonderful artists that have a very free style of expression and they believe in themselves and the power of art.

SD It seems you also like to collaborate musically. Do you think collaborating allows new things to be discovered? Musically or artistically in general . . .

O 音楽的にあたらしいことを発見することも多いですが、それよりも作品を共につくる過程に興味があるかもしれません。作品制作を介してのコミニュケーション、そういうところにとても興味があります。 自分が他のジャンルのアーティストとコラボレーションするときの態度はとても感覚的だとおもっています。自分の中でテーマのようなものや枠組みをまず作ってしまうとうまくいかないことが多いのですが、相手のアーティストの気持ちをちゃんと理解しながら、自然な流れに任せて作業すればうまく行くようなことが多いと感じています。

Many things can be discovered musically, but more than that I’d say I am interested in the process of making work together. Communicating through producing work is an aspect I’m very interested in. My attitude when collaborating with an artist of a different genre is very instinctive. When I decide on a theme or make an outline beforehand it often doesn’t go well, but if I understand the other artists intentions fully and let the process flow naturally, the outcome is usually good.

SD You remix a lot too. What is it about remixing that you like? How do you decide what to remix? Do you think remixing is easier or funner than writing your own music sometimes? Is it also a way to just stay busy? Jurasy Human is great. I can’t believe that was three years ago!

O リミックスの作業はとてもおもしろいものです。リミックスというよりも、相手の曲と自分の世界観をどういう風に融合させるかということをいつも考えます。 たいてい締め切りが決められているので、じっくり作業を満足いく所まで詰めることは難しいですが、それがうまくいったときはとても嬉しいです。

The process of remixing is very interesting. Rather than simply remixing, I always think about how I can meld together the person’s song and my own world view.There’s usually a deadline, so it’s hard to be completely satisfied, but when it goes well it’s very exciting.

SD Oorutaichi means ‘all Taichi’ right? You play so many instruments and record everything, and mix yourself. How did you start playing music, and how did you come to decide that ‘all Taichi’ works best?

O 当初はアコースティックギターの弾き語りからスタートし、いくつかバンドも組みました。音楽大学に入学しようと理論なども学ぼうと思いましたがすぐに挫折してしまいました。当時から一人で曲を完結させる志向が強かったように思います。

私は時にはマスタリングまで自分で出掛けてしまいます。いろんな人と共同作業をするおもしろさももちろん知っていますが、オオルタイチのソロに関してはどれだけ自分の内的な感覚を深く表現できるかということが重要で、特にアルバムを作る事になれば、音やジャケットまで隅々こだわりたい気持ちがあります。 ただ最近は少し考え方が変ってきて、今までとは逆に自分の世界を沈黙させることに興味が湧いてきています。そこから見えてくるものもあることが最近わかりました。

I started out playing with just my acoustic guitar, and then formed a couple bands. I thought about enrolling in college for music or studying theory, but gave up quickly. I think that from the beginning, I strongly intended to complete songs myself. Sometimes I even master the music myself. Of course, I understand that it is fun to work together with other people, but for Oorutaichi as a solo project it’s important to me to see how deeply I can express my inner feelings, so when it comes time to make an album I want to be particular about everything from the sound to the album art. However, I’ve changed in the way I think recently, and I’ve become interested in silencing my own world. I’ve learned that there are things to be discovered by doing that.

SD How do you think your process has changed since Yori Yoyo, Drifting My Folklore, and on to Cosmic Coco?

O Yori YoyoやDrifting My Folkloreを作っていたときは、とにかく歪んだ音楽を作りたい気持ちが今よりも強かったとおもいます。世界観がどこかひねくれていたし、自分だけの音楽を作りたいという気持ちが強かったと思います。 しかしCosmic Cocoはもっとストレートなアプローチでダンスミュージックを意識し、リズムの構築の仕方や音の素材感などをとても重視しました。 ダンスミュージックにとってリズムはもちろん、一個一個の音の素材感はとても重要な要素だと考えています。

When I made Yori Yoyo and Drifting My Folklore, I think my interest in making distorted music was stronger than it is now. My world view at the time was warped, and I had a strong drive to make music that was unique to me. For Cosmic Coco I took a more a straight dance music approach and focused on how I would construct the rhythm or the texture of the sounds. I think in dance music the textures of each separate sound, and of course the rhythm, are very important elements.

SD How did you hook up with Bear Funk? They’ve put out so much good music.

O レーベルのボスSteveが大阪にDJをしにきたときdemo CDを渡しました。 Bear Funkのファンだったので。一週間後にレコードを出さないかという返事が来ました。結局リリースまで2年近くかかりましたが（笑）

I gave the label owner Steve a demo CD when he came to Osaka to DJ. I was a big fan of Bear Funk. A week later I got a reply asking if I’d like to put out a record. It ended up taking nearly two years for the actual release (laughing).

SD How did Urichipangoon start? And what is happening with it? I liked Giant Club when it came out.

O 最初ウリチパン郡は私の妻と２人で始めました。完全にLofiなベッドルームミュージックでした。セカンドアルバムのGiant Clubを出すとき、バンドサウンドを作りたかったので、残りの２人にメンバーになってもらいました。 しかし今はメンバーそれぞれが忙しくなってしまい活動を休止しています。

Urichipangoon first started with me and my wife. It was completely lo-fi bedroom music. For the second album Giant Club, we wanted more of a band sound, so we added two more members. Unfortunately, now each of us are busy so the band is on hiatus.

SD I discovered Urichipangoon from Muneomi Senju when he was playing with Boredoms. Do you still jam with Senju?

O ジャムをすることは少ないですが、時々一緒にステージに立つこともあります。 素晴らしいドラマーだとおもいます。

We don’t jam often, but occasionally we’ll join eachother on stage. I think he’s a wonderful drummer.

SD I saw the magazine IN/SECTS with EYE-Chan. I know he remixed Futurelina. How did you meet EYE and do you plan to work together?

O Oorutaichiの活動を始めて間もないとき、偶然イベントに遊びに来ていたEYEさんにライヴを見てもらうことが出来てそのとき初めて彼としゃべりました。リミックスはとにかくこちらからお願いをして実現しました。私にとってEYEさんは心から尊敬する人だったので、とても嬉しかったです。

When I first started playing as Oorutaichi, by coincidence EYE was at an event I was playing at and caught my show, and that was the first time I talked to him. The remix came about by asking him. I was very happy about it since EYE is someone that I deeply respect.

SD You played the Cake Shop in New York City in 2009. Was that the last time you played in New York? Do you tour very much? Do you plan to tour in the U.S.?

O はい、New Yorkで最後にライヴをやったのは2009年のCake shopが最後です。 それから現在まで年に1.2回のペースでヨーロッパツアーやオーストラリア、韓国や台湾なんどに行きました。 11月にまたNew YorkとSan Francisco、Los Angelsをまわります。今よりもさらに海外でのライヴを増やしていきたいと考えています。

Yeah, the last time I played in New York was at Cake Shop in 2009. Since then I’ve toured Europe, Australia, Korea, and Taiwan at a pace of once or twice a year. I’ll go to New York, San Francisco, and Los Angeles again in November. I definitely want to play abroad more often.

SD How did the event with Japan Society come to be? I’m really looking forward to it. I think it’s going to be fun. What are your hopes from this trip to New York and the future of Oorutaichi?

O 今年の3月に横浜で行われた、康本雅子さんとのコラボレーションをJapan societyのディレクター塩谷陽子さんが見てくださり、それがきっかけで実現しました。 NYの雰囲気は日本には無い、活き活きした力であふれています。活動的な力をたくさんもらって帰りたいです。

The director of Japan Society, Yoko Shioya, saw my collaboration with Masako Yasumoto in Yokohama in March, and that led to the event. The atmosphere in New York is overflowing with a lively power that Japan lacks. I’d like to take that active energy back with me.

 

To celebrate what will surely be a memorable event, BOMB is offering a pair of tickets to Cosmic Coco with Oorutaichi to the first lucky reader to respond to rsvp@bombsite.com with “Oorutaichi” in the subject heading. For more information on Oorutaichi, please visit: http://www.okimirecords.com/.

 

Scott Davis is an artist and musician living in New York.