I wanted to "open up" the possibility of promoting my music to a wider audience, and to make the audience aware of a different kind of music. I come from a rock background, but my biggest influences are shamanic folk music and minimalist trance. I added humour and gags to that backbone to lighten the impression and make the short film more accessible. All the pieces are original compositions written and performed by myself, played on one and the same snare drum. Please enjoy the freedom of ideas therein.

"Snare Drum in Wonderland 2" part 1

introduction（0:00~)
Sunean" who appears in the beginning is the super director of this short movie. When I participated in the Asagaya Jazz Street event a few years ago, I found this illustration with my photo on a flyer made by the organizer. I was told that it was free material, so I thought "can I use it for something? So I copied and pasted it. My music production is rather introverted and tends to head towards the maniacal world, but he makes me more aware of my connection to the outside world. Here we treat him like an imaginary friend.

1 Hokusho (3:16~)
This piece is deeply inspired by folk music. The first half of the song and the postlude are inspired by Eskimo music, the middle part by Haitian voodoo music, and I reconstructed this sense in my own way. When you listen to a minimalist phrase for a long time, you start to listen to the overtones. Not only in this song, but also in other songs I've written. In the case of a live performance, the overtones are emphasised differently depending on the room in which it is played, and these echoes are fed back into the performance.

2 Floating Straights part 1 (11:55~)
A coastline, for example, looks like a straight line from a distance, but it is clearly different from a straight line drawn with a ruler. This is a humorous take on the idea. Hundertwasser said that "God does not dwell in straight lines", but nowadays, when PC processing is commonplace, some people say that it is people who dwell in straight lines. As of May 2021, part 3 has been written, and we are considering the possibility of performing the three pieces in succession. Two of them are included in this edition.

3 Don't approach (13:14~)
I borrowed the title from a work by Gyoji Nomiyama, which I saw in January 2021. The T-shirt I wear when I play is the picture. (Laughs) ...but the name of the piece is an afterthought. Originally it was a phrase that came to me improvising during a performance at a noise festival (rather anti-establishment) in Moscow a few years ago, and I developed it later. With this background, I tried to express a sense of energy that was about to explode. The performance is quite rough for a video, but we hope it gives you a rock taste.

4 Transient (19:15~)
This piece is a collage of fragmented phrases recorded on Ableton Live. I didn't have a clear idea of what the final product would be when I was recording it, so I made the most of the fun that emerged accidentally during the collage process. The collage is as free as the performance. Coincidentally, there are several scenes in this piece where the birds give good performances, not only in this piece but also in other pieces. I remember that Messiaen also said that when the sunset or the morning glow is beautiful, the sound of the birds watching it becomes beautiful too.

5 Floating Straights part 2 (25:38~)
The outline of this piece is the same as part 1, but I actually wrote this piece from a phrase that came to me during a performance at the aforementioned festival in Moscow. Originally it had a darker impression. This performance in Moscow will be released as a live CD in the near future.

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"Snare Drum in Wonderland 2" part 2

6 Possibilities of snare drum solo 2 / so many possibilities in the future what a wonderful snare drum 2 (0:00~)
(with Electrics)

It consists of three parts: rapid, slow and rapid. Like "Transient", this piece is a collage of fragmented phrases, but with a lot of electrical effects. Also, most of the phrases are played to the É = 138 clicks on the recording. It's the tempo that I find easiest to groove to, and I'm also aware of techno. However, I didn't do much mechanical quantization, and I tried to create a rhythm ensemble with a human touch, which can be felt in folk music, by making the most of the natural shifts in the performance. The video collage in the second part was shot more than 20 years ago on 8mm film. The backwards spinning sound used at the beginning of the piece (and the beginning of the third part) is the only sound in the piece that was made with the snare wire stretched. The rainbow-like screen I made as the title logo (the door picture) was modelled on the eye-catchers of a certain animation.

epilogue (9:22~)
I'm worried about "Sunean" who I kicked out, so I go to look for him.

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Interview

A story about a Snare Drum in Wonderland / Interview and Mini Gallery