A DIY ETHIC HAS ALWAYS BEEN AT THE CORE OF WHAT ISHI DOES. HIS CURIOSITY FOR ENGINEERING AND CRAFTSMANSHIP EVENTUALLY SPILLED INTO MAKING MUSIC. IF YOU WANT A JOB DONE PROPERLY, BETTER DO IT YOURSELF. FORTUNATELY FOR US, SOUND AND IT’S MANY CHARACTERICTICS ARE HIGH ON ISHI’S AGENDA.
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NG UNI R P EFUL SOME CAR N A H T C I M US THE ’S M O I T Y T H I L A D M A E U Q Y A READ O iS E T S HAVE R S TO HEAR FAMILIA SOUNDS R MO TRACK OURAGES U S ’ C RE HIS HE EN EW MUSICAL WAYS E IN N TH
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Πγ ౦ʹژੜ·Εɺૣ͘ ISHI WAS BORN IN TOKYO IN 1981. HE DROPPED OUT OF
JOINED A LOCAL GANG AND, A FEW YEARS LATER,
ޙɺݩͷʹग़ೖΓ͠ϠΫβ ISHI DISCOVERED A SEVERED FINGER WRAPPED IN PAPER ON
Πγࣗͷصͷ্Ͱࢴʹแ·Εͨ HE DECIDED TO LEAVE THE YAKUZA AND CUT TIES WITH THE
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͘ SCHOOL AT AN EARLY AGE
THE YAKUZA
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いい His relationship with audio goes beyond a fascination with its physical properties. He likes to play with the possibilities of its graphic, emotional scenery, operating within the fuzzy zone of memory “When I start making music,” Ishi explains, “first of all I decide on a concept for it. Then I see some imagery, but it’s not vivid yet. It’s like a fog. I choose some sound materials to use, and usually start with a rhythm. As I continue, the sounds remind me of a scenery, and I imagine other sounds that might exist in the scenery. One of Yosi’s earliest releases was back in 2008, when his track “Skipping” found its way onto an EP sampler by French beat label Eklektik Records.
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A DIY ethic has always been at the core of what Ishi does. His curiosity for engineering and craftsmanship eventually spilled into making music, inspired by the picture of KRS-One shouting into his headphones on the cover of the Return Of The Boom Bap. Ishi’s quiet demeanor doesn’t initially strike you as a close fit with KRS-One’s loud swagger, but they share similar pioneering values: if you want a job done properly, better do it yourself. Fortunately for us, sound and its many characteristics are high on Ishi’s agenda.
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に の 日 It sets the 毎 音template の 楽が for Ishi’s approach right from the beginning, たち その人 as he condenses the constituent sounds of skipping, the stomping of feet and the whistling of ropes to harmonic and romantic effect. It’s closer to “Double Dutch” than “Eye Of The Tiger”, Ishi has a knack for picking evocative sounds that speak to us, whatever the story. Sitting somewhere between locked percussive grooves and acoustic postcards, his atmospheres confound as much as they reveal.
My favourite instruments are kalimbas and instruments which came through the Silk Road, feel my own roots from these instruments, like Tibetan bells, Chinese gongs and singing bowls. But I like to think about each sound from many angles. From a physical point, as well as a spiritual point of view, I think all the elements influence how we feel about a track.
FROM THE OUTRIGHT BIZARRE, TO THE SOMETIMES INNOVATIVE, AND RIGHT THROUGH TO THE INSANELY POPULAR,THE TOKYO MUSIC SCENE HAS EVERYTHING YOU DIDN’T KNOW EXISTED OR PERHAPS EVEN THOUGHT ABOUT. AS THE WORLD’S LARGEST CITY WITH 33 MILLION PEOPLE IT’S NOT HARD TO SEE HOW TOKYO HAS A MUSIC CULTURE ALMOST IMPOSSIBLE TO COMPREHEND, LET ALONE FULLY EXPERIENCE, GIVEN ITS SHEER SIZE, DIVERSITY, AND OBSCURITIES. TOKYO MUSIC IS EITHER IN CREDIBLY MAINSTREAM OR INCREDIBLY UDERGROUND. WHILE THE MAINSTREAM SIDE OF THINGS IS AS STRAIGHT F O R WA R D A S Y O U WOULD EXPECT FROM POP MUSIC, THE CONTEMPORARY MUSIC OF JAPAN’S CAPITAL IS COMPLEX AND IMMENSE.
VIDEO GAMING IS A MAJOR INDUSTRY IN JAPAN. JAPANESE GAME DEVELOPMENT IS OFTEN IDENTIFIED WITH THE GOLDEN AGE OF VIDEO GAMES, INCLUDING NINTENDO UNDER SHIGERU MIYAMOTO AND YAMAUCHI
THE JAPANESE INDUSTRY DOMINATED THE VIDEO GAME FIELD DURING THE 1980S AND 1990S, REMAINING DOMINANT UNTIL THE 2000S.
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Monday 10 February, the first webzine specialized in electronic culture, Resident Advisor, - put online the seventh video of h is s eries Real S cenes. In this movie, the main question is addressed Fueiho Act, which existe since 1948. It regulates the places related to t he ÂŤ eventÂť c abarets, clubs, sex industry, catering ... For 50 years, the law became more and more restrictive, but ... it h as a lmost never been u sed by J apanes e police, w ho n ever considered it a s a national priority. However, fafter the death of a student in a club in Osaka in 2011, the cities of Osaka, Fukuoka and Tokyo became the target of this fiftieth law. Basically created to reduce the spread of largescale prostitution, it is now the cause of extreme repression of the actors of the electronic scene and sex workers. And propagates hatred, caution and a priori ..
Anyway, the actions that make us think about the unnecessary anti- rave restrictive policies of the 90s .This new regulation would also went unnoticed without the report. Furthermore, the documentary shows the resis tance that rumbling since the commissioning of the law , including through collective Let’s Dance . Various associations, local and foreign artists, t he p ublic o r the media livestreams Dommune trying to put the record straight .
I was born in Arakawa, i lived with my mother and 5 brothers. My mother still lives there, i love going back to rest. i’m very close to here. The smell of the street stores, the incense... Even today I still feel like a child when i walk through the door of my house.
Liquid room is the first place where i play, and where i become famous. I love performing there, i have unforgettable memories. Liquid Room is a great place to catch big-name acts in an intimate setting. Both Japanese and international bands play here,
The Shinjuku’s Karaoke is the perfect place to chill when the nightlife makes me go off the rails. I’m going with my friend and i sing the most ridiculous songs. That’s a good way to never forget his self-mockery
I used to go to Yoyogi park with my mum when i was a child. Yoyogi draws all sorts of talent, from horn players to hip-hop dancers to rockabillygangs, complete with poodle skirts and Elvis-inspired pompadours