Keiji Haino at MOCAD, Detroit
I’ve known of Haino’s work since the early 90’s. Haino is an odd figure, blending Blue Cheer with Albert Ayler and infusing it with butou dance and Japanese minstrelism (a word I just made up). Somewhere along the line, I lost track of Haino’s work, particularly while living in Japan where he barely registers. In Osaka, you wouldn’t even know he existed. He told me he only plays there twice a year.
Fortunately, I got a translating gig for him so I was able to spend a little time talking with the man. Turns out, he’s a really funny guy. We talked at length about guitars, pizza, how young people in Japan are on the road to hell and the challenges of being in cities after living in the country for a long time.
I had forgotten what a major influence Haino has been on my musical life. I started using multiple amplifiers and didn’t shy away from the guitar because of Haino. Despite the amplified guitar’s somewhat pedestrian roots, Haino wields it like a fine sword, taking advantage of both the amplifiers and the room itself. It can be said that the entire room is Haino’s instrument. Though I’ve mostly given up playing (just don’t have the time) and wasn’t ever very good at all, I was incredibly moved to finally see one of my heroes play.
Haino was incredibly particular about everything. The lights had to be at a certain brightness and a certain color, and the audience was required to stand at a particular distance from the stage “for their own safety.” Though he was quite jovial about his specific requests, once the show started, it made sense why things had to be laid out in a certain way.