2017/11/08 芸術
<音楽:music>オーライ・ガンジー日本ツアー2017のスナップショット:Snap Shots From Alright Gandhi Japan Tour 2017


Alright Gandhi is a 3-piece band based in Berlin. Rosa who plays bass and vocal is English. Pietro on guitar and backing vocal is Italian. And a drummer, Dominick is American. And Augusto, their promoter is Portuguese. I came to know them through my friend Travis who plays in a band called Tape Deck Mountain, also on Augusto’s label Mouca. I helped AG and their adventurous promoter August Lima of Mouca Records with their first Japan tour as a friend and a music lover.



数ヶ月の間、MacBookやiPhoneのスクリーンを通して彼らとコミュニケートしたり、断続的なツアーのアップデートを見たりしていた後、10月の雨の日についに彼らに直接会うことができた。場所は居心地が良くて良いイベントをたくさんやっている原宿のBonobo。まず彼らが安全に到着したのを知って安心した。Bonoboでのライブは直前に決まったものだった。オーガストが、多分彼らがマレーシアあたりにいる頃に、日本到着の翌日の夜、10月20日の夜にハウスパーティーか何かでライブをできないかと聞いてきたからだった。Bonoboはすぐに返事をくれて、私の願いを叶えてくれた。Alright Gandhiは金曜日の夜の午前3時に日本での初ライブをやることに決まった。これ以上に良いスタートは思いつかなかった。

After seeing their continuous tour updates and communicating through Mac Book and i-phone screens for several months, I finally met Rosa, Dominick, Pietro and Augusto in person in one rainy day in October at a cozy venue called Bonobo in Harajuku, Tokyo. It was good to know that they arrived safely. Their show at Bonobo was the last minute booking I did because Augusto told me (probably when they were in Malaysia) that they like to play house party or something if they could on Oct 20th, the day after their arrival. Bonobo very quickly responded to my message and made my wish come true. Alright Gandhi was to go on around 3 in the morning, Friday night. What can possibly be a better start of the tour than this??


Augusto bought me a glass of whisky and told me that he was gonna keep pushing this creative endeavour by keep actively touring and collaborating with people they meet. He told me with excitement how the band was travelling with their bodies and minds and they were in flux. Honestly I didn’t really understand what this mad man was trying to do before, but as I spent time with them, I felt like I was getting the image gradually.



On the 1st floor of Bonobo, I heard Dominick playing drums to DJ’s tune to warm up. Pietro also started lightly jamming on his white guitar to the drum. Rosa who plays bass and sings was in a red dress facing the audience. “Hello everybody. Konnichiwa” she greeted. Her cheeks were rosy and smile was shining. No sign of nervousness. She looked comfortable, excited and focused. They seemed very much ready and professional. When she started singing, her face looked like it was shining in joy, full of unstoppable good energy, very expressive and focused in the moment. The sound the band was weaving was sophisticated, grabbing, playful, and free, and they were Rock’nRoll. People in the room were feeling it up, everything positive about Friday night, and enjoying the music. I danced and soaked up the kindness, freedom, sensitivity, intelligence and drive that was in their pulse of living music.


After they played an amazing set, I went outside alone in joy. It was misty and raining. Then I went to the 2nd floor, a Japanese style room with tatami, a round table, and DJ booth. I laid some more flyers of AG Japan tour, then found a spot for myself to lay down and pass out for a little while. I was so relieved that the show went absolutely awsome. When I woke up, I realized there was a geisha in the room. She was showing people some sort of game. She had perfectly set hair. According to Rosa that the geisha spanks people and screams in a noise band. Welcome to the future! Someone was telling Rosa how Halloween gets really crazy in Shibuya. She was listening tensely. Then a Swedish lady showed up and started telling Rosa her personal story: she said she came to Japan when she was 21. She just did it and she’s been here since. “This is the craziest party I’ve been to!” Rosa said with astonished face. There was music flowing in the room. Rosa was also singing melodies. She was an abundance of melodies. I went to the 3rd floor with glass roof and saw the morning. I was very very happy to witness this grey morning after trying to book shows for the band for several months. I called Rosa to see the morning together. The tour finally started rolling, and there were not so much I could do no more. All I had to do now was probably to enjoy the living music and the time with them. And book some night buses and read menus at the restaurants for them.

朝までパーティーを楽しんだ後、霧雨の中彼らをゲストハウスまで連れて行った。一緒にいた友人の津田健太郎はとても楽しそうやら幸せそうやらで、彼らに話しかけ続けていた。私は歩きながらピエトロと一緒に唄った。会う前はピエトロはなんとなく控えめな人かと思っていたけど、全く違っていた。私はめちゃくちゃな歌詞やデイヴィッド・ボウイを唄った。ドミニクは都会の景色に興味津々のようだった。彼はオハイオ州出身だと言ったから、モデスト・マウスの「オハイ〜〜オ〜」ってやつを唄った。近代的な高い建物が白い霧の中に建っていた。私たちは2020開催予定の東京オリンピックの為に再開発されているエリアを歩いていた。私はより大きいスタジアムを建てるために、戦後から長い間霞ヶ丘に住んでいたお年寄り達が引っ越しをしなければいけなかったことや、ホームレスの人達が追い出されていることを知っていた。東京各地でたくさんのお金のかかる、シビアな手術が進行していた。たまに工事のビデオを撮っているんだ、とドミニクに言うと、どんなカメラで?と彼は聞いた。iPhoneか、キャノンのパワーショット、と私は言った。私は何度か曲がるところを間違えたので、余計な時間がかかった。私たちは疲れていたし、ピエトロはもう唄っていなかった。だけど津田くんは彼らに話しかけ続けていた。私には彼がうまくコミュニケートしているようには見えなかったけど、それは特に問題ではなかった。彼は情熱的に、土曜日の鈴ん小屋でのライブについて伝えようとしいた。ダンサーでありヴォイスパフォーマーである津田くんは、鈴ん小屋での夜に前座をつとめてくれるアーティストの1人だった。(土曜日、私は彼がカエルみたいになったり、空飛ぶ人間みたいになったり、オオカミになったり、おそらくは彼自身になったりするのを目撃した)。津田君は「本当の家」に帰りたがっていた。電車に乗っているとき、私は津田くんとドミニクの会話を聞いていた。「長野県にはとても良い水があるから、そこでは良い水でソバをつくっているから、ソバがとても美味いんだ」と津田くんはドミニクに彼らがツアーで行くことになっている松本のうまいものについて話していた。松本にはGive Me Little Moreという良いライブハウスがある。ドミニクは礼儀正しく頷きながら津田くんの話を聞いていたかと思うと、「なるほど、つまりニューヨークにはとても良い水があるから、ニューヨークのピザがとても美味しいのと一緒だね?」とさほど表情を変えずに言った。朝の電車のシートで揺られながらその様子を黙って聞いていた私とオーガストはお互いの顔を見合わせて笑わずにはいられなかった。沸いてきたのは温かい感情だった。ロサは黒いベースギターケースを足の間に挟んで、目を閉じて、微かに微笑みながら座っていた。優先席に座っていたピエトロはとても疲れているようだった。私たちはゲストハウスに行って、歯を磨いて眠った。

After partying all night, I took them back to the guest house in the drizzly rain. My friend Kentaro Tsuda seemed very happy and excited and kept talking to them. I sang with Pietro while we were walking. I thought he was a reserved person before I met him but he was not at all. I sang some non-sense and some David Bowie. Dominick seemed to be into the urban scenery. He told me he was from Ohio so I sang a song by Modest Mouse that goes “OHIIIIIOOOOO.” Modern tall buildings stood in the white mist. We were walking through the area it was getting redeveloped for 2020 Tokyo Olympics. I knew about some old residents who were forced to move out from the homes they lived in for decades for a new and bigger stadium; homeless people had been evicted.Tokyo was going through a series of severe urban surgery that costs a lot of money. I told Dominick that I take videos of construction sometimes. What kind of camera?? He asked. Just i-phone, sometimes with Cannon Power Shot, I said. I took some wrong turns so we took extra time. We were tired. Pietro wasn’t singing no more. But Kentaro kept talking to them. To me it didn’t look like he was successfully communicating with them but it didn’t matter. He was passionately trying to tell them about Saturday’s show at Ringoya. He was one of the openers, a dancer, a voice performer. (On Saturday I witnessed him being like a frog, a flying human, a wolf, and probably himself.) He was wanting to go back to the “real home.” When we were on a train, I was listening to Kentaro and Dominick’s conversation. “Nagano has very nice water, so they make really good soba with really good water,” Kentaro was trying to tell Dominick about Matsumoto’s fine cuisine. AG was gonna play at Give Me Little More, a live house in Matsumoto later on their tour. Dominick was politely looking at Kentaro, nodding while listening. Then he said with a straight face without changing his facial expressions much, “Right, it’s like water is so good in New York so pizza are so good in New York right??” It was hilarious. I and Augusto, seated in the morning train and listening to it, looked at each other and couldn’t help laughing. It was warm feeling welling up. Rosa was sitting and closing her eyes, slightly smiling with a black bass guitar case between her legs. Pietro looked very tired taking a seat in a priority seat. At a guest house, we brushed teeth and slept.



I didn’t really know how the band was surviving, constantly travelling <Europe⇒ the U.S.⇒ Thailand⇒ Malaysia⇒ Singapore⇒ Japan> for months, getting their basic needs like an apartment room, and thriving as musicians. When I went out for late night meal with Dominick and Pietro and my brother, I asked them how they make money in Berlin. Pietro quickly said let’s not talk about it. Not a pleasant topic for poor musicians for sure. Even though Dominick was dreaming about eating at a counter sushi bar for once, we were sitting at Isomaru Kaisan, 24-hour-open chain Izakaya that serves sea-food, because it was the only place we could find open after the last train went. We ordered sashimi and nigiri of Pacific saury which was in season. And my brother ordered some more things like kanimiso (crab paste) for them. After some discussion, we decided to order just one sake to share. I wished I could ordered many things for them but I was low in cash as well. Can’t lie about it. That night we talked about housing situation, past and a bit about future. Dominick told us a story about how he has worked a corporate drummer job with a drummer who didn’t seem to be able to count. He tried to work it out as a person and as a musician at that job he took for his financial survival, but it didn’t work out well after all. His profession was a drummer. His life was always centered around drumming since he was a kid. He probably couldn’t bear degrading his art and profession. What it takes to be a drummer? When we talked about stuff like that, I though about what it takes for me to be a writer. When I looked at the clock, it was already passed 3 in the morning.




サブストアでは、私もアーティストとして参加して、彼らの前座で唄って、絵の展示とショートフィルムの上映をした。絵にもショートフィルムにも、ギリギリまで手を加えた。絵のシリーズのテーマは「光と闇と魂ネットワーク」で、「SH 詩」と名付けたショートフィルムは、パーソナルな映像と友人達の音楽をつかって、何か詩的なものをつくろうと思ってつくったもの。ロサはショートフィルムに使ったCheetah Lampの曲が気に入ったみたいだった。ドミニクは「犬が死んじゃって残念だったね。フィルムには感情の波みたいなのがあったよ」と感想を言ってくれた。私の唄について、オーガストは「完璧な不完全さだったよ」と言ってくれた。

When AG played at Sub Store, a record store in Koenji, Dominick told a joke between songs during the set.

“There was a depressed drummer. His timing was so bad. When he tried to commit suicide by jumping into the train track, he fell on the track after the train had already passed.”

They were musically great, also very charming, poetic, modest and strangely down to earth. 3 of them had spontaneous fluidity and grounded dynamic at the same time.

At Sub Store, I also participated as an artist. I opened the show with 3 original songs, showed my new short film “ SH” and a series of paintings themed around “light, darkness and soul networking.”  I kept working on them till the day before the show. In the film, I used personal videos and my friends’ music to make something poetic. Rosa liked the song by Cheetah Lamp. Dominick told me “Sorry about your dog. There were like waves of emotions.” August told me that my performance was like “perfect imperfection.”



It was always fun to eat with them. We were low in cash so we wouldn’t order excessively. “big and cheap” were key words especially for boys. I never felt like I wanted to eat more though. My stomach seemed to be filled with something else. It kind of reminded me of Mickey’s Christmas Carol scene I saw in a children’s book when I was a kid. An impoverished family of Mickey mice was trying to divide already a small turkey into even smaller pieces for Christmas -I felt like we were like that family, and it felt special. This camaraderie is one of the best and strange feelings that being broke can deliver to me. We grilled long and thin fish with round eyes. I saw fish’s eyes turned brown as it got grilled. A group of drunk salary men in suit and devil’s haircut were shouting at a clerk behind us. Another day, when we were at a Chinese restaurant before the show, I wasn’t so hungry and also was low in cash. So I was just having shochu on the rocks. Then Dominick gave me a small bowl full of his noodle. I ate it and told him I was full. Then he said, “alright, just a little more,” and gave me a single string of noodle.


When we went to a Chinese restaurant in Nogata, a day of typhoon, Augusto asked if they could have the round table that we can spin dishes in the center, but the lady told us it was for more than 5 people. Then Pietro told me that we do had more than 5 people because he had schizophrenia. I thought it was funny but I didn’t laugh, and we couldn’t get a round table. After we ordered meals, Rosa across the table started to draw me with water colour that’s designed for travellers. I was wearing a blue tie-die shirt I bought in Thailand, a country they toured before they came to Japan. Then they started talking about something like nasty scientific experiment carried out during the WWII. I supposed it was a strange scene but a mild chaos always gave me a sense of relief.



The free public show at Nogata Bunka Market was made possible with the great helps from local artists, and was a clearly great success. Kota Arai of Sundrum brought his drum set, bass and guitar amp, mics and mic stands in typhoon weather and helped with the sound check.


A free show in public in the typhoon- I loved this kind of ideas. The music don’t just belong to live houses and festivals and the industry. But I had some reasonable fears too. What if neighbours who has nothing better to do than watching TV in a quiet environment complained?? What if cops came and told us to shut it down?? That would suck to shut down the show for the band who came all the way from Europe. There was a shadow of nightmare I didn’t wanna see. But everything went so perfectly. All the 3 performances were great. Double Fantasy (Shu and Heimenzu)opened the show with a poetry reading and the guitar. Mr.Shu sang a song for Mr. Kou Itou, a member of Blues Binboz who passed away. A trio of Arisa Yokote, Kota Arai and Kimiya Sato played amazing set. Arisa’s voice was full of soul and she had power to take audience into the story. They sang a song that they leaned from a region of Japan. The music that we don’t hear much no more, but probably it’s surrounding the island of Japan for a long long time. The sound of music filled an old rusty shopping arcade that seemed to be left out from the world. It was freedom. It was joy. It was happiness. It was soul networking. When I started noticing that the music actually made my neighbours happy as well, I felt ecstatic. A young boy who works at Izakaya sincerely thanked me with a big smile. A girl who works at a bar came out. A construction worker from Philippine who used to play in a band was shouting and smiling in joy, with a beer in his hand. A cook from the curry shop was smiling. And local artists who used to be active in Nogata area were very happy to see something like this was happening here. Mr. Nebashi, an artist, said it was dreamy to see the show with full drum kit because he had to cancel his events in the past because of noise complaints. It was very meaningful to me that local artists and foreign artists performed in this hand-made event together. I’d like to thank my friends in California for making parties like this in the living room, basement and garage, and tell them I did it in Tokyo! While Alright Gandhi played music, people were smiling and dancing. There was a feeling of intimacy in the air. After the show, people donated money for the band. People kept talking and shared good times with each other in excitement. Pietro was fully alive, awake and active after the show and getting people to dance, sing and clap hands in the circle. A kind of scene I love. People from a shop called Damira, one of the most interesting shops that specialized in collecting and selling wasted toys and products, was giving Rosa freaky posters as gifts. They were punk and never-ending kindness, always had interesting stories behind what they sold at the shop. I thought that the typhoon must have decided to be on our side too. It probably worked as sound-proof. The rain felt very gentle as if it were protecting us. And since that day some neighbours opened up and we started to have deeper conversations little by little. It was a good start. Communities with free music, art, creativity, trust and love are my favorite kind.




Aya, a butoh dancer, was an artist I asked to perform together with Alright Gandhi. Aya was gonna perform with Ken Takehisa (her brother) and COMPUMA, but COMPUMA caught a cold so it was Aya and Ken. I’m not a big fan of a type of dance that a bunch of people practice together and dance together. But I fell in love with Aya’s dance the first time I saw it. When I saw her the first time, it reminded me of works by Seiichi Hayashi. She is a beautiful person. But there are something else that I feel like I have to pay my serious attention to, something under her skin, something lively like a child, something mysterious, something ardent, something quiet, some difficult events, joy, life and existence of life. I have seen many art works by many artists. It kind of hit me in a special way because she only uses her own body to express. When I see her dance, it’s like encountering a bright living flower in the darkness. It hits me.

Rosa told me that Aya and Ken’s performance was intense and she cried many times during the performance.


東京での最後のライブは大久保のひかりのうまでだった。私が短いアコースティックの前座をやって、曖昧なキスのとても強烈なノイズセットがその後に続いた。長身でサングラスをかけ、数々の即興を日々やっている狩俣道夫さんの声が、謎めいた文章を空気中に放った。「!!!寝る前には 歯を 磨いてください!!!」狩俣さんのことはしばらく知っているけれど、その夜狩俣さんは更にミステリアスな人物になった。後で、あの日の朝、歯が痛かったんだよね、と狩俣さんは言っていた。

A show at Hikarinouma was AG’s last show in Tokyo. I opened the night with a short scoustic set, then Aimai na Kiss followed with a very intense noise set. Michio Karimata, a tall man with his sunglasses on, who performs a lot of improvised sets, used his voice and laid sentences in the air. “PLEASE BRUSH YOUR TEETH BEFORE GOING TO SLEEP!” I knew him for a while but he became further mysterious person that night, receding into himself and delivering cryptic lines as the show went on. Later he told me that his tooth was hurting earlier that day.


When Pietro was playing his white guitar that night, he looked like a homeless universe who caught a cold. The way he plays guitar, and himself reminded me of outer space more than any other guitarists I could think of. He was drinking hot tea before the show. The universe needed hot tea and vitamin C. He was ill. The universe was playing his guitar with his eyes closed. It was comforting to see and it looked like it was giving strange freedom to the band to me. He looked like a homeless universe to me probably because Rosa told me about her dream earlier that day when we joined my brother’s East Tokyo bike tour. In her dream, she found Pietro sleeping on the street. He was a homeless person. She woke up and then saw him, Dominick and Augusto sleeping on the 3rd floor of the guest house. When we were walking around Yanaka Ginza in Nippori, even though Rosa didn’t care about a piece of bad paper fortune (telling her that it’s not a good time to get married, travel etc) at all, she told me that she felt bad that Pietro missed out activities like this during the tour. He sleeps a lot so usually he doesn’t have much time to explore the places before sound-check which typically happens around 5pm. I wondered what he was experiencing in his dream. When we were waiting for the night bus to Osaka, I asked Pietro what he saw last night in his dream. He said that he and his friend built a house in the forest and they played cards in the room. Later he was visited by a wolf-woman. She wanted to stay. But he didn’t know what his father would think so he told her to wait. The she left. As she left, she turned into a wolf. The way he told me his dream so vividly made me feel like I was fake a bit or I was a shallow person for not dreaming very vividly. I told him that I’d like to receive monthly dream journal. “His dream gets pretty long,” Rosa warned me. During the tour, I saw Rosa writing time to time. In the live house, on the train. I loved seeing her writing. When we talked, we were serious, not much space for trivial things. There was seriousness and freedom. On the train, she asked me about the interview we did before we met. “I think objectivity is the tool of power,” she said something like that when I brought up journalism. If objectivity takes away emotions and colours and rhythms and freedom and individual subjectivity/ perspective, (and straight facts sometimes,) probably, it can be an enemy of the artist. There will be nothing left to feel and express. There’s an obvious difference in people’s outlooks when they write something trivial and when they write something true- something that’s not detached from the heart. Rosa was extracting something from somewhere deep, like a deep-sea diver. And she comes back with some words, absolute treasures!



When Alright Gandhi left Tokyo, I messaged Pietro that I missed the music. Then he said, “no worries, music is everywhere,we’re just spatiotemporal carriers of its universe.” Rosa was singing “Mexican Sun,” “if every moment is dying, then every tune is a funeral song and, every singer a medium bringing back ghosts long gone…”


At the airport, while they were waiting for the flight, I told one of my rituals for my own survival to Rosa. And Rosa told me one of hers. She was saying that she was gonna compile rituals this winter for modern day survival. I gave her rocks and sea shells I collected from different areas of Japan and prints of fish cut out from a tank-top I got in Hawaii. She started to stitch one of the fishes to the back of her jacket, in the black of the big eye. She doesn’t wait to do things. She is one tough girl.


Their first Japan tour ended. We were in the moments together. Even though now those moments are somewhere far away, it seemed to drop something new inside me. It felt like a dense season came and went with speed. Everyone went back to where they came from. We don’t know what’s gonna happen in the future. But the time shall tell us the story we deserve. Our universe expanded a little bit by coming in contact with former strangers. And we shall reap what we sow. A few days ago, Alright Gandhi played their last show of the year 2017 in Leeds, England. And they have a crowd-funding campaign to press their second album in vinyl form. All-Or-Nothing effort with the deadline on November 19th, 2017. I hope they reach their goal.



When I saw them off at Narita airport, the sky was grey with heavy rain because another typhoon was approaching. There was a huge black board filled with flight schedule to various destinations over the security gates. There was a large group of loud Chinese tourists with their many purchased items behind me while I saw them passing the gate. There were many intriguing things happening at the airport, but I didn’t know what to pay attention to concretely. I went back to my life and I saw my short neighbour doing his morning routine in the clean morning sun, marron trees blown by strong typhoon winds, and my small room with my life in. I felt like there were rhythm to it, music to it, songs to it in these scenes. That’s one of the effects they left in me, a stronger presence of the parallel universe of music that exists all the time. When they reached Europe, Pietro wrote me that he could see Siberian rivers from the air. They had a layover in Moscow. His descriptions always strangely felt rich even in text form. Dominick also sent me a video he shot from his airplane seat. Strangely I felt like we actually did share that moment even though I wasn’t there. When I still had a void inside me from missing them, I made a cocktail at a bar I work with vodka, milk, a hint of syrup and a little pour of whisky. I was trying to make a cocktail called “Siberian River.” It tasted festive, a bit like eggnog. They didn’t make profit by touring Asia. But if I stop doing something I love because I don’t have money, that’ll be the end of that love. I thought so later.

And lastly, thank you Augusto, a mad man from Mouca Records for making this tour happen 😉 Rock’nRoll.



プロデュース :蜂谷翔子


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