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Summary: 平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV) April 25, 2026

1: "Asyu-On/Ashu-On TV" (previously called Back Space Pass) is a program where Susumu Hirasawa shares anecdotes and thoughts about major events such as album recordings and concerts, usually airing a few weeks afterward. After the live broadcast, it can be viewed in the archives on Susumu Hirasawa's YouTube channel. (However, this time, a pre-recorded video will be broadcast.)
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"Accord of the Uncoded"

2: Regarding the "Accord of the Uncoded" concerts in December 2025 and January 2026. These concerts were linked to the release of Kaku P-MODEL's new album, "unZIP."

3: Ejin TAZZ and Ejin SSHO participated as support musicians again this time.

4: In the future, Kaku P-MODEL, a project under the P-MODEL brand, will likely move closer to and merge with Susumu Hirasawa's solo music and concepts.

5: The reason why there were almost no songs from Kaku P-MODEL's 1st, 2nd, and 3rd albums at this concert: The album "unZIP" has a positive concept of "people who were imprisoned in a 'Room' being released from their confinement, that is, being uncompressed and unzipped and liberated." This was inconsistent with the dark, negative, and dystopian themes of Kaku P-MODEL's 1st, 2nd, and 3rd albums. Therefore, I selected a few songs with a positive perspective from older P-MODEL songs.

6: A new laser harp, "Kirin (meaning shining bell)," was introduced at this concert. It was created and named by Mr. Novmichi Tosa of the art collective Maywa Denki.

7: I first met Mr. Novmichi Tosa through an interview article in the music magazine FILTER. We hit it off, and afterwards, I asked him, "Would you be willing to create a Laser Harp for me?" and he readily agreed.

8: The Laser Harp Kirin has a new feature that my previous Laser Harps didn't have: the ability to move the laser beam. This new feature is scheduled to be showcased at the Fuji Rock Festival in July.

9: Also, for this concert, I introduced a new modular synthesizer. Synthesizers have evolved from old physical solid-state devices to software synthesizers, which have become mainstream in recent years. However, just as there are people who are fascinated by vintage cars and old furniture, there are musicians who deliberately use the inconvenient modular synthesizers. My purchase of this modular synthesizer was influenced by Kenji Konishi and Hajime Fukuma (both former members of P-MODEL). I had been thinking about a music project with these two, but Fukuma passed away. However, I would like to do a music project with Konishi in the future.

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10.The modular synthesizer is a Black System model from the brand Erica Synths. At that concert, I also introduced the latest guitar synthesizer, the Boss GM-800. This guitar synth allows you to set a different tone for each string. I used this function in a guitar synth solo part.
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"Three Echoes of the Dao Tokyo"
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11. About the concert "Three Echoes of the Dao Tokyo". The concert "Three Echoes of the Dao" was originally planned as a concert in China in 2025. For the Chinese audience who were hearing Susumu Hirasawa for the first time, I selected songs that were like an "introduction to Susumu Hirasawa". As a result, I chose only up-tempo songs that required me to raise my voice, which was physically demanding for me as it was suited to a festival.
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12. At the China performance, an explanatory announcement in Chinese was broadcast at the beginning. To ensure that the Japanese audience understood the meaning of this, in Tokyo, a Japanese translation of the Chinese announcement was projected onto a screen on the right side of the stage. Both the Chinese announcement broadcast and its Japanese translation were created using AI. While they may contain unnatural and childish parts, we deliberately avoided hiring professional translators to create the impression that ordinary citizens were communicating with computer assistance.
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【Q and A】
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13. Question 1: Q: During Parthenon's performance at the Accord of the Uncoded concert, a sticker reading "Three Echoes of the Dao" was placed on the computer on stage. Does this have any deeper meaning? A: That was a sticker we had placed during the previous concert tour: the China performance. We simply forgot to remove it.
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14. Question 2: Q: Is the lighting team for this live performance and 'Accord of the Uncoded' different from the lighting team for 'Hybrid Phonon 2566+'? A: A new lighting team has been in place since the 'Hybrid Phonon 2566+' concert. Therefore, the lighting teams for those two concerts are the same. 17. Question 3: Did you use mind maps in the production of the album 'unZIP' or 'Accord of the Uncoded'? A: No. While mind maps are effective for verbalizing images that are difficult to put into words, in this case, we had a clear, concrete concept, so we used AI.
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15.Question 4: Q: At the "Accord of the Uncoded" concert, the record cover of 'In A Model Room' was prominently displayed at the opening. What was the reason for deliberately avoiding performing songs from 'In A Model Room'? A: The concept of that concert was to show the process of people being liberated from the confinement within the "Room" of 'In A Model Room,' so that design was used to mean "moving away from 'In A Model Room.'" Therefore, it is unlikely that we will perform songs like "Artmania" in the future for the purpose of exciting the audience.
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16. Question 5: Q: At the "Accord of the Uncoded" concert, Mr. Hirasawa skillfully manipulated the body movements of the Ejins. What kind of training did you undergo to acquire that technique? A: The Ejins have a habit of bending their knees in response to the sound of certain joints in the human body. I simply utilized that. No training was necessary.
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17. Question 6: Q: At the "Three Echoes of the Dao Tokyo" concert, who was the person stomping their feet and clapping their hands in the video projected onto the screen during the intro to "Dreaming Machine"? A: That was Ejin TAZZ.
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18. Question 7: Q: How did you decide on concert titles like "Accord of the Uncoded" and "Three Echoes of the Dao"? A: I use a method called abstraction and a 360-degree perspective. I first abstract specific events and phenomena, climb to that level myself, and then look around 360 degrees. Then, we look for concrete examples that correspond to the same concept but at a lower level of abstraction. This allows us to find paraphrases that represent the same concept as the concrete examples we initially imagined, such as "Accord of the Uncoded" or "Three Echoes of the Dao."
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19. Question 8: Q: You mentioned that you referenced AI for the laser harp gestures in the BSP (Back Space Pass) of "Three Echoes of the Dao." Is that also the case for this live performance? A: I didn't have AI create all the gestures. Instead, I combined the necessary movements for playing the laser harp with choreography suggested by the AI, creating a continuous flow of movements to form the overall gestures.
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20. The next Asyu-On/Ashu-On TV is scheduled for after the Fuji Rock Festival in July.

平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV)(Sound Sub-Species TV), April 25, 2026 "非コード人のアコード＋タオの3つのエコー/Accord of the Uncoded + Three Echoes of the Dao" 編/Edition (Translation in English)

平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV)(Sound Sub-Species TV), April 25, 2026 "非コード人のアコード＋タオの3つのエコー/Accord of the Uncoded + Three Echoes of the Dao" 編/Edition

【Translation in English】

(The title screen displays the text "Hirasawa Susumu's Asyu-On TV/Sound Subspecies TV: Accord of the Uncoded + Three Echoes of the Dao")

[00:22]

Hirasawa Susumu: Hello everyone. This is Hirasawa Susumu. Hirasawa Susumu's Back Space Pass has been renamed "Asyu-On TV(Sound Subspecies TV)" starting with this episode. So, first, for the benefit of our new fans, let me briefly explain what "Back Space Pass, now renamed 'Asyu-On TV'" is.

Asyu-On TV is a streaming broadcast that airs after any major event I've participated in, such as a recording session, a live performance, or a concert tour.

The broadcast includes various anecdotes and thoughts related to the event, and, if time permits, answers to questions.

It's basically a live broadcast, but it's saved as an on-demand video afterward, so you can watch it anytime.

Don't worry if you missed it.

[01:31]

So, today I'd like to begin the talk show titled "Asyu-On TV 'Accord of the Uncoded' + 'Three Echoes of the Dao Tokyo' Edition."

[01:41]

However, before that, there's something I'd like to explain. Actually, this broadcast isn't live; it's a pre-recorded program.

This is because I've had two dental implant surgeries this month, and there's a possibility that my pronunciation might change or that some part of my face might swell and look unsightly. Because it's difficult to predict, I've decided to broadcast a recording made before all the surgeries. I ask for your understanding.

[02:26]

Although it's a recording, it's basically unedited to give it a live feel, so there may be some parts that are difficult to see or hear. Again, please forgive me.

[02:41]

Let's begin with "Accord of the Uncoded."

"Accord of the Uncoded" was a live concert held in Osaka and Tokyo from December 2025 to January 2026, spanning across the New Year, and was held in conjunction with the release of Kaku P-MODEL's new album, "unZIP."

[03:09]

As usual, Ejin(TAZZ and SSHO) were there as support members for the live performances. Ejin usually participate as support members for Hirasawa's solo shows or the shows in the Hybrid Phonon format, but from this point on, Ejin will also be participating as support members for Kaku P-MODEL's live performances.

※[Note: Susumu Hirasawa says that this is the first time(2025-2026) Ejin have performed as support members for Kaku P-Model, but this is a misremembering on his part. In reality, Ejin have been supporting Kaku P-Model since the "Kai = Kai" concert in 2018.]

[03:34]

There's a reason for that. It's predicted that with unZIP, Kaku P-MODEL may end its role as the P-MODEL brand. From now on, the Kaku P-MODEL brand will move closer to solo work, and there's a possibility that it will eventually merge. As an intermediate step, the Ejin members are gradually starting to participate in the performance.

[04:11]

And I'd like to talk a little about the song selection for this live performance. I've heard complaints like, "Even though this is a Kaku P-MODEL live performance, there aren't many Kaku P-MODEL songs?!" You're absolutely right, and there's actually a reason for that.

It's related to the content of Kaku P-MODEL's latest album, "unZIP." In "unZIP," it represents the idea that people, who were imprisoned in "Room" like in the P-Model's first album "In A Model Room", are released from their confinement, that is, uncompressed and unzipped, and liberated.

In other words, the album is positioned within a process where people are liberated from the social persona defined by others, not the persona defined by themselves, or from a persona they unwillingly believe to be themselves, and move towards their true selves.

[05:32]

Considering this, the nature of P-MODEL from their debut album to "Kaku P-MODEL" tends to be pessimistic. Therefore, the P-MODEL brand has historically focused on themes such as dystopia, cautionary expressions, depictions of how people are oppressed, and questioning who is responsible for such actions.

And with unZIP, the album is created from a perspective that, in a sense, crosses a turning point in human history toward liberation or detoxification. While unZIP has a positive and optimistic tone, the P-MODEL brand's earlier tone was dark, negative, critical, and rebellious, making it difficult to reconcile with the tone of unZIP.

[06:45]

In that case, the selection of songs for a single live performance had to be limited to songs from before unZIP, meaning that almost all of the songs from Kaku P-MODEL (before unZIP) were rejected. Therefore, in choosing songs that emphasized the concept, it was necessary to gather songs from P-MODEL, from their past debut album to the most recent Kaku P-MODEL album, that were closer to the unZIP perspective, or had a more positive viewpoint.

[07:26]

That's how I ended up with that selection of songs. In the process, it resulted in a list of songs that hadn't been performed in a very long time.

※[Note: The Concert "unZIP: Accord of the Uncoded" Setlist in Osaka:

1.Cyborg, 2.GRID, 3.Phase-0, 4.Delusion Railway, 5.Haldyn Dome, 6.Catastrophe by the Window, 7.Parthenon(featuring modular synth solo performance), 8.Julia Bird, 9.Veronica, 10.Phase-6, 11.Solid Air, 12.Bye Bye Halycon, 13.Zebra, 14.The beginning of Timeline, 15.Parallel Kozak, 16.Another Day, 17.Moiporia]

[07:42]

I'd like to talk a little about this. It's an interesting result that several songs were performed for the first time in over 30 years.

[07:57]

For example, GRID. I don't trust it much, but according to the AI's research, GRID was performed for the first time in 34 years.

[08:13]

AI often blatantly lies, so I have to be careful, but to save myself the trouble of researching it myself, I'll use the AI's research here, knowing that there's a possibility of lies, to examine other songs as well. According to that, Cluster was performed for the first time in 32 years, and Julia Bird for the first time in 35 years.

[08:44]

There are also other older songs like Another Day and Solid Air, which I've selected for my solo live performances, and in the past, there was a project called Kangen-shugi where I arranged P-MODEL songs in a solo style using strings, and within that project Another Day and others have also been featured, and if we ignore that, it seems this is the first time in 34 years that P-MODEL has performed this song.

[09:17]

It might sound like I'm boasting about old songs, but the truth is I have a large number of works. According to a survey I did over 20 years ago, I have over 300 songs with registered copyrights. Of course, this includes songs made for commercials and film scores, but if I had the opportunity to perform all of these songs just once a year, and then to perform them a second time... That's a grand story spanning 300 years, so saying it's been over 30 years is rather tame, wouldn't you say?

[10:07]

However, when I think about just how much I've worked, it sends shivers down my spine, but thanks to everyone's support, my imagination hasn't run dry yet, and I'm always able to focus on new works.

[10:35]

As for the selection of songs, it had the characteristics described up to this point.

[10:43]

And "The Accord of the Uncoded" features several new approaches in its live performances. One is the introduction of a new laser harp. Another is the introduction of a modular synthesizer and the guitar synthesizer solo parts, which I think were the highlight.

[11:08]

First, I'd like to talk about the new laser harp. This is a laser harp made by Maywa Denki, and Mr. Tosa(Novmichi Tosa), the president of Maywa Denki, personally named it "Kirin" (輝鈴[shining bell]).

※[Note: Maywa Denki: https://www.maywadenki.com/biography/bio_en/ ]

[11:28]

My first meeting with Mr. Tosa(Novmichi Tosa) of Maywa Denki was during a dialogue for the magazine "FILTER," but actually, judging from the public's impression and perception, it might seem like we'd known each other much longer. However, during P-MODEL's concert tour when we released albums like "Fune," Maywa Denki left a message for P-MODEL in the dressing room of a local live house. While that could be considered our first contact, the "FILTER" dialogue was actually the first time we met and spoke in person.

[12:18]

The dialogue took place in a certain location where Maywa Denki's products were displayed. The atmosphere was incredibly strange and beautiful; surrounded by these beautiful, retro-futuristic products whose historical context is unclear, we were able to confirm our respective thoughts on "strange machines that play music."

[12:53]

During that conversation, the thought crossed my mind, "Perhaps I could ask Maywa Denki to make a laser harp for me?" However, I held back at the time and didn't say it out loud. Later, I tentatively sent them an email asking, "Would you be willing to make a new laser harp for me?" I explained, "I was captivated by the beautiful design and unique concept of Maywa Denki products, so I would really like you to create a new laser harp in that vein..." To my surprise, Mr. Tosa readily agreed, and after several meetings, a few months later, it was completed and named "Kirin" (輝鈴).

[13:54]

And this "The Accord of the Uncoded" was the first stage performance of the new laser harp, Kirin. At that time, I was still using the same method as with the previous laser harp, reusing the same performance data.

[14:19]

The Kirin laser harp actually has a feature that the previous generation laser harp didn't have. I'm planning to showcase this feature at Fuji Rock Festival in the summer, but let me give you a quick explanation. Simply put, the laser beam moves. With the current laser harp, blocking the beam triggers performance data and produces sound. In other words, blocking it sends a command. However, the Kirin has a function that allows the laser to move when performance data is input. So, the Kirin has the ability to move the laser beam, move the beam itself, and produce sound while outputting and inputting performance data.

[15:32]

This is a wonderful feature that can be used for some show-up and leads to new visual performances, so please look forward to it at Fuji Rock.

[15:44]

And that's enough about the laser harp for now. As another highlight, I used a modular synthesizer. Those of you who have seen "The Accord of the Uncoded" know, I am sure, that the scene of me operating a modular synthesizer was filmed and projected onto a large screen, so you could see what it looks like.

[16:19]

Normally, a synthesizer is a system where each function is internally wired, and you play a complete system. However, a modular synthesizer inherits the form of the early days of synthesizers, the form when they were still being experimentally created. In other words, each function module is simply lined up, and you create sounds or add variations to performances by externally wiring and connecting them.

[17:10]

In fact, in terms of technological progress, it should have already been phased out, but it still survives thanks to its form, or perhaps the feelings of admiration toward the man-machine interaction, and the strong supporters of that kind of thing.

[17:34]

That being said, synthesizers have already evolved considerably since then. They've progressed from physical, solid synthesizers to the kind of software synthesizers I use today—conceptual virtual synthesizers that require no wiring and take up no space. Just as there are people fascinated by vintage cars or those who find value in old furniture, modular synthesizers sometimes receive a similar kind of attention.

[18:24]

They possess a quality that goes beyond the sophistication of a musical instrument; they project a romantic, narrative quality, creating a more man-machine-like interaction. While they are very inconvenient tools, this is precisely why the sounds they produce have a certain tendency. They produce sounds with nuances distinct from those created by lining up and coordinating several modern synthesizers.

[19:09]

And some musicians aim to express the sonic characteristics or depth of the sound image that are possible partly because of the frustration of not being able to instantly change something due to its poor operability.

[19:29]

The reason I've recently adopted modular synthesizers is that, having already moved beyond physical synthesizers, stripping them down to the point where I'm using only conceptual software synthesizers, I recall a conversation with Kenji Konishi and Hajime Fukuma for "FILTER." Both Konishi and Fukuma are musicians who use modular synthesizers, and as I mentioned earlier, they create sound from a world where they are forced to engage in more man-machine interactions and adjust increasingly inconvenient machines. As we talked, I suddenly realized, "That's right, I was like that too!" Suddenly, I felt an urge to reintroduce modular synthesizers and, if possible, perform a live show with Konishi, Fukuma, and myself.

[20:44]

After the discussion, the three of us talked about various things, and we agreed that I would introduce a modular synthesizer, and we should think about a project together. Unfortunately, as you know, Hajime Fukuma passed away, so that never materialized.

[21:07]

However, I haven't given up hope or the possibility of doing something with Kenji Konishi.

[21:19]

The modular synth I use is a Black System from the brand Erica Synths. Normally, with modular synths, the fun lies in customizing each module to your liking, for example, "this module for this function is German-made, this module for this function is Russian-made, this one is Japanese-made, this one is California-made, or even from the opposite coast (East Coast)." However, I didn't have the time to research, select, and build my own system, so I purchased a pre-assembled Black System, which has a control system more suited to live performances.

[22:26]

While I was tinkering with it in my limited time, I decided, "Okay, let's try using it live," and that's what I did the other day.

[22:39]

And one more thing related to synthesizers: a guitar synthesizer solo part was performed. Following the modular synth solo part, I tried a guitar synthesizer solo as the next part. I've been using several types of guitar synthesizers since the days of the old P-MODEL. Guitar synthesizers are very difficult machines; of course, they present many challenges for developers and performers alike, making them very difficult instruments to handle. However, these problems have largely been resolved in modern times, and they have evolved to a level where they can be used practically without any issues.

[23:38]

I used to use guitar synthesizers as part of an ensemble-like nuance within a band sound. Or, to be more unconventional, I would do strange things like producing percussion sounds from a guitar.

[24:00]

However, this time, I decided to try a solo that has only become possible because of the evolution of guitar synthesizers, and the one I used was the latest guitar synthesizer, the Boss GM-800. However, as I mentioned earlier, there are several "difficult conditions." While guitar synthesizers contain sound sources, and it's possible to recall and play those sound sources, the process of re-editing and reconstructing the sound in one's own way is still somewhat difficult, challenging, and cumbersome. Therefore, I didn't play the sound source signals created by the GM-800 directly using the GM-800 itself.

[25:05]

I'm using a method where I transfer the signal that activates the synthesizer created by the GM-800 to a software synthesizer, and then use that software synthesizer as the sound source.

[24:25]

Earlier, I likened modular synthesizers to vintage machines, and the software synthesizer I played this time is also somewhat close to vintage. It's more of a software clone than a physical form, and it's the Korg Triton synthesizer. I've actually used a physical Triton in a recording before; it's featured on my album "Siren."

[26:10]

The Gm-800 allows you to change the parameters needed for each individual guitar string. This means you can set a different timbre for each string. Looking at demo performances of guitar synthesizers out there, most use the same sound—for example, a piano sound is set, and the synthesizer is used in a scenario where a guitarist is playing the piano or a saxophone. However, I utilized the ability to set various parameters for each string to create disparate, non-uniform sounds for each string. As a result, even though the phrases are fairly well-structured and played like a normal guitar, the different timbres of each string create a patchwork, pieced-together sound, resulting in a very strange nuance.

[27:41]

I tried playing like that, but this was just one experimental case for me. In the future, I'd like to refine this method a bit more, add some ideas or something, and create my own way of using the guitar synthesizer. That's the feeling I had as I finished the live performance.

[28:16]

(An AI video is shown with the caption "Let's take a break now," showing Susumu Hirasawa playing with three cats and a chimpanzee while drinking tropical juice on a tropical beach.)

[28:22]

Now, I'd like to take a five-minute break. I'll see you again in five minutes.

[28:31]

(The title screen displays the text "Susumu Hirasawa's Asyu-On TV: Accord of thee Uncoded + Three Echoes of the Dao")

[33:30]

Now, I'd like to talk about "Three Echoes of the Dao: Tokyo Edition." "Three Echoes of the Dao was originally created for the China tour, and since I've already held a Back Space Pass streaming show once since the China tour ended, I thought it would be good to talk about it from a different perspective here.

[33:56]

I'd like to talk a little about the song selection here as well. It was my first time performing in China, and in order to give first-time attendees a comprehensive understanding of what kind of person Hirasawa is and what he does, I selected songs that were like an "introduction to Hirasawa."

[34:20]

And I don't select songs in that way in Japan. However, being in a place I'd never been before, not knowing if I was truly welcomed or how well-known I was, and with the goal of creating an "overwhelming sense of being different," I chose a setlist that was like an "introduction to Hirasawa" to create an atmosphere that was overwhelmingly different from the other performers. Furthermore, because the setlist was constructed for festivals, it ended up being a collection of songs that were quite easy for the audience to get excited in the music festival, which was certainly intentional, but for me, it was an extremely tough performance.

[35:16]

Many of the songs required me to sing at full volume for extended periods, and with "Gardener King" and "Rotation" crammed together towards the end, it felt like a five-minute full-speed sprint for me. It was such a tough experience that I was relieved to have managed to keep singing through it.

[35:41]

It seems that the Japanese audience envied the song selection, which, to put it another way, was like an "introduction to Hirasawa," or in other words, a "Hirasawa hit song compilation," and although it's frustrating, that's how it ended up being. However, at least in Japan, where I perform live many times and am somewhat recognized on video sites and so on, my regular live performances tend to feature song selections that are more fragments of my long career rather than an introduction.

[36:21]

However, since it was my first performance in China, I thought you all would be interested in "what exactly did he do (in that country)?", so I decided to recreate it in Tokyo.

[36:35]

And there was one challenge in recreating it: the opening announcement is in Chinese, and it was necessary for everyone to know what was being said in Chinese. So, we displayed a Japanese translation of the spoken Chinese on the screen. The announcement in Chinese made there were from the Chinese script made by me using AI, and the voice is also provided by AI.

[37:17]

I predicted that it would probably sound like unnatural Chinese, and I did it that way. I actually expected that, and didn't ask anyone to check it. I skipped the step of having someone who understands Chinese check it. I wanted to incorporate that strange, probably intentionally strange feeling into the live broadcast. This is because I wanted to created an atmosphere that it is created by citizen as an amateur using internet-based communication means, and so, without experts and high-barrier infrastructure.

[38:01]

And in Tokyo, the Japanese translation was displayed on the right, and that Japanese itself was somewhat childish, which I think helped achieve the feel of internet communication (script made by amateur).

[38:20]

So, that's roughly where I intended to talk, but since I've already discussed ”Three Echoes of the Dao," I don't really have any other topics that I'm enthusiastic about, so from here on I'll answer some questions. I've picked up some questions from X regarding these two live performances, so I'll answer those.

[39:01]

Let's start with this one. It's a question about "Accord of the Uncoded."

(Question 1)

Q: "I noticed while watching the live stream today that the sticker on the computer next to your solo performance in Parthenon said 'Three Echoes of the Dao.' Does this have any deeper meaning?"

A: Regarding that question, there's no particularly deep meaning. It's the result of my laziness. First of all, the computer I was using at the time was the main computer I used during my China tour. And, regarding the lid, when using it with the lid open, the lid faces the audience, so I thought I'd like to add something related to the live performance as a design element there. I consulted with designer Mr. Nakai (Toshifumi Nakai), and he made a sticker for me, a large sticker of "Three Echoes of the Dao," which I stuck on. The tour ended, but I was too lazy to peel it off, so I just left it on. That's probably why it was shown in close-up on camera during my modular synth solo part. In other words, it had no meaning whatsoever; it was simply a question made out of my laziness. Um, and next.

[40:52]

(Question 2)

Q: "Is the lighting team for this live performance and 'Accord of the Uncoded' different from the lighting team for 'Hybrid Phonon 2566+'?"

A: That's the question. The lighting teams for 'Hybrid Phonon 2566+' and this 'Accord of the Uncoded' are the same. However, the lighting team for 'Hybrid Phonon 2566,' that is, the main performance before the additional show (Hybrid Phonon 2566+), was different. Lately, over a certain period, in my live performance team, there was a change in personnel in the sound and lighting teams. So, this lighting team is the same team that handled the lighting for "Hybrid Phonon 2566+", the China performance, "Accord of the Uncoded", and "Three Echoes of the Dao: Tokyo Edition," and they are a new lighting team. I would like to continue creating live shows with this team in the future.

[42:14]

(Question 3)

Q: "Did you use mind mapping in the production of (the album) 'unZIP' and (the concert) 'Accord of the Uncoded'?

A: Regarding that question, I did not use mind mapping. The reason is that I've been using AI more and more recently to think about various things. There are cases where it's just quicker that way. For example, when there's something vague in my mind that I can't put into words, or when there's a hazy image that's difficult to visualize clearly, using a mind mapping is appropriate. However, when you have a clear concept or specific details but they're unorganized, or when you want to expand on them, AI is suitable. You can use AI to clarify ambiguous things. It seems that when you're trying to organize your thoughts that's closer to verbalization than the method using mind mapping, using AI is convenient. That's what I've recently come to understand through experience.

Mind mapping is suitable for self-directed sessions in your own mind when you have vague images or clear visuals that haven't been verbalized, and you want to organize or create something. For things like "Accord of the Uncoded" or "unZIP", where the concepts were clear, I found that using AI was more appropriate than mind mapping, so I used AI this time. And next...

[44:37]

(Question 4)

Q: "In 'Accord of the Uncoded,' the record cover of 'In A Model Room' was prominently displayed at the beginning. What was the reason for deliberately avoiding performing it? Also, are there any plans to perform it in the future?"

A: This is a little difficult to understand, but are you asking, "Why didn't you perform any songs from the first album?" Or are you saying, "It's unacceptable that you showed it so clearly visually, yet omitted the first album?" As I explained at the beginning, in order to show what kind of message unZIP is, we used that kind of visual to show the people imprisoned in the first stage, ”In A Model Room”, and to show the process of their liberation. Therefore, it wasn't a preview of performing the first album, but rather used to move away from it. It's for exactly the same reason I explained how I was selecting the songs for "Accord of the Uncoded" at the beginning.

And I believe your question was, "Do you have any plans to perform older songs like those from your first album in the future?" I can't definitively say whether or not I have such plans. It's possible I might bring them out if necessary, but please understand that I won't use them for the purpose of "let's play 'Art Museum (the person I met)/Artmania' to liven up the venue." Next question.

[46:36]

(Question 5)

Q: "In 'Accord of the Uncoded,' Hirasawa's skillful manipulation of the Ejin was impressive. What kind of training did you undergo to acquire that skill?"

A: Well, training wasn't necessary. A monetary employment relationship was necessary. That's a joke, though. Just as a cat reacts to opening a can of cat food, the Ejin have a habit of bending their knees in response to the sound of certain joints on a human body. I simply utilized that. Is that satisfactory? Now, let's move on to the next question about "Three Echoes of the Dao."

[47:29]

(Question 6)

Q: "In 'Three Echoes of the Dao,' the video of foot stomping and hands clapping that was projected onto the screen during the intro to 'Dreaming Machine,' who was that?"

A: That's the question. First of all, the reason why that video was included in the Tokyo performance is that when we performed it in China, TAZZ and SHOO's foot stomping and hand clapping was only visible to people in the front row. So in Tokyo, we made it into a video to make it easier for the audience to recognize what they are doing and to connect it to their reactions, so we made a video of it and embedded it. And the person stomping their feet there is TAZZ. You might think that someone was hired as an extra for the filming, but actually, TAZZ was called into the studio, and the act of lifting his leg high and stomping it down was filmed and projected. Is that clear? And next.

[49:02]

(Question 7)

Q: "How do you decide on live performance titles such as 'The Accord of the Uncoded' and 'Three Echoes of the Dao'?"

A: That's the question. It's difficult to explain, but a title is an embodiment of a concept, so it's a process of combining words that represent it. So, how do I find those words? I use a method called abstraction and 360-degree perspective. This is a name I came up with myself, but for example, let me show you the process of how people being liberated from the Room in "In A Model Room" is transformed from a specific event like "Liberation from the Room" to the use of words like "unZIP" and "Accord of the Uncoded."

First, if we abstract the situation of a person trapped in a room to the next level, we get abstract expressions like "a person imprisoned in a restrictive space" or "a person whose actions are limited." Once we've abstracted it to that level, we ascend to that level and look around 360 degrees. When we look around 360 degrees, we try to find something in a lower level of abstraction that corresponds to the same concept, that is, a more concrete situation. In other words, we rephrase the physically restricted situation into more concrete, episodic words such as "compressed" or "enhanced."

When we descend to that level of concreteness, we can create titles that express the same concept, even though they are narrative-driven rephrasings like "unZIP" and "Accord of the Uncoded." I hope you understand. It's very complex and difficult to explain in words, but this abstraction and 360-degree perspective are techniques I actually use frequently when I post on X. Pay attention to what I'm saying. You might be able to find instances where you think, "This is probably a statement made after going through that process." And now for the last question. Let's make this the final one.

[52:10]

(Question 8)

Q: "You mentioned that in the BSP, Back Space Pass, from 'Three Echoes of the Dao,' you referenced AI for the laser harp gestures. Is that also the case for this live performance?"

A: That's your question, and the answer is yes and no. What I asked the AI for wasn't the movements for the laser harp, but simply how to move my body. There are cases where this is interspersed with the laser harp movements and the intermediate steps of the movements, so the boundary between what is for the harp and what is suggested by the AI is somewhat ambiguous.

As I've mentioned several times before, the laser harp is used to expand physicality in the handling of electronic devices that don't inherently require large body movements. Therefore, the laser harp setup is arranged to include how the body movements for playing the harp look, and sometimes it includes miming. It's created by deliberately inserting unnecessary movements as intermediate steps to create a continuous flow of motion.

These movements related to the harp and the movements suggested by the AI were being confused. That's a combination of the AI-suggested movements and the inevitable movements for the laser harp, that I showed on stage in "Three Echoes of the Dao."

[54:15]

And so, it's almost time to wrap things up. This was a pre-recorded presentation. The implant surgery is taking a while, but there are various reasons for that. It involves drilling holes in the bone and embedding metal.

So, there's a waiting period until it's firmly fixed, and various other things like that. Because of that, it's still going to take some time. There are a total of four implant surgeries, and two have already been completed. There are two more this month, and then the major surgeries will be finished. So far, there haven't been any issues with my face or speech, but just to be safe, considering what might happen, or if something might be visible when I open my mouth, I decided to record the broadcast.

And unless there are any unexpected major events, the next episode of this Asyu-On TV will be broadcast after Fuji Rock Festival. Until then, see you next time on Asyu-On TV. Goodbye.

[55:41]

[56:55]

.space
※[The Japanese script is posted under the category "Back Space Pass"/日本語の書き起こし文は「Back Space Pass」のカテゴリー内に有ります。]

平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV)(Sound Sub-Species TV), April 25, 2026 "非コード人のアコード＋タオの3つのエコー/Accord of the Uncoded + Three Echoes of the Dao" 編/Edition (Japanese/日本語)

(日本語/Japanese)
.

（タイトル画面「平沢進の亜種音TV 非コード人のアコード《Accord of the Uncoded》+タオの3つのエコー《Three Echoes of the Dao》」の文字が映る。）
.

[00:22]

平沢進：みなさん、ごきげんよう。平沢進でございます。平沢進のBack Space Passは今回から、「亜種音TV」と改名されました。それで、先ずは、新規のご贔屓衆の為に、「Back Space Pass改め”亜種音TV”」とは何なのかを簡単にご説明致します。

亜種音TVは私が行った何らかの大き目のイベント、例えばレコーディングとかライブとか、或いはコンサートツアー等の終了後に放送されるストリーミング放送です。

放送では、イベントに纏わる様々なエピソードや考え方、そして時間に余裕が有れば、質問に答えるという事が盛り込まれた番組であります。

基本的にはライブ放送でありますが、終了後にはオンデマンド動画として保存されているので、いつでも見る事ができます。

見逃した人もどうぞご安心ください。

[01:31]

という事で、今回は「亜種音TV"非コード人のアコード”+(プラス) "タオの3つのエコー東京"編」という事で、始めたいと思います。

[01:41]

しかし、その前に、一つお話ししておきたい事がございます。実は、今回の放送はライブ放送ではなく、収録されたものを放送しております。

と言いますのも、今日までの間に、今月はインプラントの手術が二回有りまして、その影響で発音が変わってしまったり、或いは、顔面のどこかが腫れて見苦しくなったりする可能性が無きにしも有らずで、ちょっと予想がつかない為に、全ての手術前に収録した録画を本日配信しているという方法にさせて頂きました。何卒、ご了承ください。

[02:26]

収録ではあるものの、基本的にはライブ感を出す為に無編集なので、お見苦しい点、或いはお聞き苦しい点が或るかと思いますが、重ねてご容赦ください。

[02:41]

それでは「非コード人のアコード(Accord of the Uncoded)」から、参りましょう。

「非コード人のアコード」は2025年12月から2026年1月と、年を跨いで行われました、大阪、東京で開催されたライブ・コンサートでありまして、核P-MODELの新譜「unZIP」の発売に連動して開催されたものであります。

[03:09]

ライブのメンバーとしては、いつもの通り会人(えじん)がサポートとして入っておりますが、会人がサポートとして入るのは実は平沢ソロ、あるいはHybrid Phononという形式の時なのですが、今回からは、核P-MODELのライブにも会人がサポートとして参加していく、という事になっております。

[注: 平沢進はEjin達が核P-Modelのサポートメンバーとして演奏するのは今回(2025-2026)が初めてだと言っているが、これは彼の記憶違いで、実際は、Ejin達は2018年のコンサート「回 = 回」の時から、核P-Modelをサポートしている。]

[03:34]

それには意味が有りまして、unZIPを境に、核P-MODELはP-MODELブランドとしての役割を終えるのではないかと予測されておりまして、今後は核P-MODELブランドはソロに接近しつつ、最終的には融合する可能性があるという、途中経過として、そろそろ会人もじわじわ参加し始めるというような形態になっております。

[04:11]

そして今回のライブの選曲についてちょっとお話ししたいと思いますが、「核P-MODELのライブであるにも関わらず、核P-MODELの曲が少ないではないか？！」というお叱りの声を耳にしております。ご尤もでございまして、実はこれには訳(わけ)があります。

核P-MODELの最新アルバム「unZIP」というアルバムの内容と関係していますが、「unZIP」では、1stアルバム「In A Model Room」の中で、「”Room”の中に幽閉されていた人々が幽閉を解かれ、つまり圧縮を解かれunzipされて解放されていくsha という事を表している訳(わけ)です。

つまり、その人自身ではなく、他者が定義した社会的人格とか、あるいは不本意でありながら、それを自分だと信じてるような人格から解放されて本来の自分へと向かって行くという流れの中にアルバムが位置づけられているという訳(わけ)であります。

[05:32]

そう考えますと、P-MODELのデビューアルバムから、核P-MODELに至るまでの体質というものがどちらかというと、よりネガティブなものが多い訳(わけ)で、つまりディストピアがテーマになっていたりとか、警告的な表現や、人々はどんな風に抑圧されているのかとか、また、誰がそんな事をしているのかというようなものを表現する流れがP-MODELブランドでありました。

そしてunZIPではある意味、人類史の分岐点を解放或いは解毒方面へと跨ぐような展望からアルバムが作られています。unZIPが肯定的な質感である一方で、それ以前のP-MODELブランドの質感というのは、暗く、ネガティブで批評的で、抵抗的で、そんな質感を持っている訳(わけ)で、unZIPの質感と整合性が取り難(にく)い訳(わけ)です。

[06:45]

そうなると、一つのライブをやる為の選曲というものはunZIP以前の曲という範囲の中で、核P-MODELのものはほぼ落第な訳(わけ)です。そこで、そのコンセプトを重視する選択肢に於いて、過去のデビューアルバムから直前の核P-MODELのアルバムに至る、P-MODELの中から、よりunZIPの視線に近い、あるいは肯定的な視点を持つ曲を集めるという作業をする必要がありました。

[07:26]

その結果あのような選曲になった次第であります。そうする中でですね、結果的に非常に久しぶりな楽曲がリストアップされる結果となりました。

[07:42]

その事についてちょっとお話ししておきたいと思いますが、30年以上振りに演奏された曲目が幾つか混じっているという事が、興味深い結果になっております。

[07:57]

例えばGRIDですね。あまり信用できないのですが、AIによる調査結果ですとGRIDはなんと34年ぶりだそうです。

[08:13]

AIはしばしば堂々と嘘をつくので、気を付けなければいけませんけれども、自分で調べる手間を省くという意味で、ここは嘘が混じる可能性を承知の上でAIの調査を取り入れて他(た)の曲も検証してみますが、それによれば、Clusterは32年ぶり、そしてJulia Birdに至っては35年ぶりだそうです。

[08:44]

その他(ほか)、Another DayやSolid Airという古い曲もございますけれども、ソロのライブのほうでそれを選曲した事も有りますし、過去に還弦主義といってP-MODELの楽曲をソロ的な弦アレンジを施すというプロジェクトが有りましたが、その中でAnother Day等(など)も取り上げられた事が有り、まあ、それを無視すれば、P-MODELとしては34年ぶりだそうであります。

[09:17]

何か古い曲自慢の様になっていますけれども、そもそも私は作品数が多くてですね、著作権が登録されている曲だけでも20年以上前の調べでは、300曲を超えているようです。これは勿論、CMの為に作られた曲や劇伴等(など)も混じっていますが、これら全ての曲を1年に1曲だけ1回演奏する機会が有ったとして、2度目に演奏するのは300年後という壮大な話になりまして、30数年ぶり等(など)と言うのはですね、可愛らしいもんであります、という所でしょうか。

[10:07]

しかし一体全体私はどれだけ働いたんだ、と思うとゾッとしますが、お陰様で未(いま)だ想像力は枯渇せず、常に新作をメインに活動できているのも皆様の応援があればこそと申し上げておきたいと思います。

[10:35]

選曲については、以上の様な特徴がございました。

[10:43]

そして”非コード人のアコード(The Accord of the Uncoded)"はライブとして幾つかの新しい試みがございます。一つは新しいレーザーハープの導入。そしてもう一つはモジュラーシンセとギターシンセサイザーのソロの導入というのが一つのハイライトとして有ったと思います。

[11:08]

その内、新しいレーザーハープについて先ずお話ししたいのですが、これは明和電機製のレーザーハープでありまして、明和電機の社長様であるところの土佐(土佐信道)k様が自ら「輝鈴(キリン)」と命名して下さいました。

[11:28]

明和電機の土佐さんとは、雑誌「FILTER」で行(おこな)った対談が初対面ですが、実は印象から言って、世間のイメージから言って、「二人はもっと前に知り合ってるんじゃないか」と錯覚される様な関係なんですけれども、実はP^MODELが「舟」とかその辺のアルバムを出した時のコンサート・ツアーで、地方のライブハウスの楽屋に明和電機さんがP-MODELに向けてメッセージを残してくれた事が有りました。それが最初の接触と言えば言えなくもないのですが、実際に物理世界で面会してお話しさせて頂くのは、その「FILTER」の対談が初めてでありました。

[12:18]

その時に明和電機製の製品がずらりと展示された某所で対談が行われたのですが、その雰囲気たるや非常に奇妙で美しく、時代背景が釈然としないレトロフューチャー的な美しい製品に囲まれながら、お互いの「奏でる奇妙なマシン」についての思いを確認し合うというような場を設けて頂く事ができた訳です。

[12:53]

その対談の中で「もしかしたら明和電機さんにレーザーハープを作ってもらう事はできないだろうか？」という考えが頭をよぎりまして、しかし、その時はぐっと堪(こら)えて、口には出さなかったのですが、後(のち)に恐る恐るメールで打診した訳です。「新しいレーザーハープを作って頂けませんか？」と。「明和電機製品のような美しい意匠と、それから、その奇妙なコンセプトに魅了されましたので、是非ともその路線で新しいレーザーハープを作っていただきたいのですが...」と打診した結果、なんと快く了承して頂きまして、それから数回の打ち合わせを経て、数か月後には「輝鈴(キリン)」という名を掲げて完成して参りました。

[13:54]

で、今回の”非コード人のアコード(The Accord of the Uncoded)"が(新しいレーザーハープ輝鈴の)初ステージだったのですが、その時は未だ、それまで使っていた先代のレーザーハープの使い方と同じ使い方で、演奏されるデータは同じものを流用するという方法を採っていました。

[14:19]

輝鈴というレーザーハープには、実は、先代のレーザーハープには無い機能がございます。この機能については、夏のフジロックで披露しようと計画しているのですが、簡単にちらっと説明しておきましょうか。簡単に言うと、レーザー光線が動きます。現在のレーザーハープのレーザーの使い方としては、光線を遮る事によって演奏データがトリガーされて音が出るようになっています。つまり、遮ると命令が発射される、と。で、輝鈴にはですね、逆に演奏データを入力するとレーザーが動くという機能が備わっています。つまり輝鈴は演奏データを出力したり入力したりしながらレーザー光線を動かしたり、光線そのものを動かしたり、音を奏でたり、というような機能が備わっています。

[15:32]

これはちょっとしたショーアップに使えるという、新しい視覚的なパフォーマンスに繋がる、素晴らしい機能ですので、フジロックには、どうぞご期待ください。

[15:44]

そして、レーザーハープの話はこの辺にしまして、もう一つのハイライトとして、モジュラーシンセサイザーを使用しました。”非コード人のアコード(The Accord of the Uncoded)"をご覧になった方(かた)は分かると思うのですが、私がモジュラーシンセを操作するシーンをカメラで撮影して、大きなスクリーンに映写されていましたので、それ(モジュラーシンセ)がどんな姿をしているかというのはお分かりと思います。

[16:19]

普通シンセサイザーというのは、それぞれの機能が内部的に配線されていて、一つの完成されたシステムとして出来上がっている物を演奏するという形式になっているのですが、モジュラーシンセというのは、シンセサイザー黎明期の姿を、まだ実験的に作り始めた時の姿を継承して、つまり各々(おのおの)の機能別のモジュールがただ並べられていて、それを外部的に配線して繋げていきながら音を作っていくという、あるいは演奏に変化を加えていく、という様な事をする形式のシンセサイザーです。

[17:10]

実際、技術の進歩という意味では、既に淘汰されていても良い筈の物なんですが、その姿、或いはマン・マシン的な相互関係のロマンというか、そいういうものの強い支持者達によっていまだに生き残っています。

[17:34]

と言いながら、既に、シンセサイザーという物は、非常にその頃から進化しておりまして、物理的な固体のシンセサイザーから、更に、もう私が現在使っているようなソフトウェアのシンセサイザーとして、配線も要らない、場所も取らないというような、概念的な仮想シンセサイザーという形にまで進化している中で、例えばビンテージ・カーに魅了される人々がいるように、或いは古い家具に価値を見出す人がいるように、モジュラーシンセという物にもそれに近い視線が向けられる事が有ります。

[18:24]

それは楽器という洗練以上の、奏でる機械という、よりマン・マシン的な相互関係を生むようなロマンというか、そういう物語性が投影される性質を持っています。非常に不便な道具なのではありますが、それ故に出て来る音というもの一の傾向というものが有ります。現代的なシンセサイザーを幾つも並べてそれを連携させていくことから出来上がってくるものとはまた違うニュアンスの特徴を持った音が生じるようになっています。

[19:09]

そして、その操作性の悪さ故に即座に何かを変更することができないもどかしさというものも含めて、音の傾向、或いは音像の奥行きとして表現されることを目指すミュージシャン等(など)もいます。

[19:29]

この度私がなぜモジュラーシンセを導入したかといいますと、既に私は物理シンセサイザーをどんどん超えて、削ぎ落して、最終的に何も無い概念上のソフトウェア・シンセサイザーだけを使うようになった現在、「FILTER」の対談で、小西健司(こにしけんじ)と福間創(ふくまはじめ)と私の三人が対談した時に、小西健司と福間創はモジュラーシンセを使うミュージシャンでありまして、先程お話ししたように、よりマン・マシン的な相互関係、より不便な機械の調整などを強いられる世界から音を作り出すというようなことをしている人達で、話しているうちに、「そうだ、そういえば、私自身もそうだった」ということで、もう一度モジュラーシンセを導入して、できれば小西健司と福間創と三人でライブをやってみたいという衝動が俄かに生じたのでありました。

[20:44]

それで対談の後、三人で色々話すうちに、「私はモジュラーシンセを導入するので何か(共同のプロジェクトを)考えましょう」という事を打ち合わせていたのですが、残念ながらご存知の通り福間創(ふくまはじめ)が他界してしまったという事で、それは実現しておりません。

[21:07]

ですが、まだ、小西健司(こにしけんじ)と何かが出来るという可能性と希望を捨てた訳ではございません。

[21:19]

そして私が使っているモジュラーシンセは、Erica SynthsというブランドのBlack Systemという物でありまして、普通モジュラーシンセというのはその性質から、それぞれのモジュールを自分の好みに合わせて、例えば、「この機能のモジュールはドイツ製、この機能のモジュールはロシア製、ここは日本製、ここはカリフォルニア製、或いは反対側海岸(東海岸)製」みたいな、自分でその用途と好みに応じて組み上げていくのが一つの醍醐味であるのですけれども、私の場合はそれらを研究し選別し選択肢として取り入れながら自分のシステムを構築していくという時間が無かったものですから、予めBlack Systemという、どちらかというとライブ向けな操作系を配置したモジュールの組み合わせられた、既に組み合わせられたシステムを購入しました。

[22:26]

これを時間の無い中、色々といじっている内に、「それではそろそろライブで使ってみようか」という事になり、先日使用した訳であります。

[22:39]

そして、もう一つ、シンセサイザー絡みで、ギターシンセサイザーのソロが行われました。モジュラーシンセのソロを受け継ぐように、その次のパートとして、ギターシンセサイザーのソロを試みました。だいぶ古いP-MODELの時代から、私はギターシンセサイザーを何種類か使っています。ギターシンセサイザーというのは非常に難しい機械でありまして、勿論開発者にとっても難しい悪条件が揃っているし、演奏者にとっても難しい悪条件が揃っているという、非常に扱いの困難な楽器なのですが、現代は非常にそれらの問題も解解消され、実践的にほぼ問題なく使えるレベルにまで進化しています。

[23:38]

私は嘗てバンドサウンドの中の一つのアンサンブル的なニュアンスでギターシンセサイザーを使用していました。或いはより奇を衒って、パーカッションのサウンドをギターから出すというような、奇妙な事をしていました。

[24:00]

しかし、今回はギターシンセサイザーが進化したからこそ可能になったソロというものをやってみようという事になり、私が使用したのはBossのGm-800という最新のギターシンセサイザーであります。しかしながら、色々先程「難しい条件がある」という事をお話ししましたけれども、ギターシンセサイザーの中には音源が入っている訳ですが、その音源を呼び出して演奏することはできるのですが、さらにそれを自分なりに再編集して音を再構築するという作業が、未だちょっと難しいと、困難、煩雑であるという状況がございます。Gm-800で作られた音源の信号をGm-800自身で鳴らすことはそれ故しませんでした。

[25:05]

Gm-800で作られたシンセサイザーを作動させる信号をソフトウェアシンセサイザーに転送して、そのソフトウェアシンセサイザーを音源として鳴らす方法を採っています。

[24:25]

先程もモジュラーシンセをビンテージの機械に例えましたけれども、今回鳴らしたソフトウェアシンセサイザーも、どちらかというとまあまあビンテージに近いようなもので、何というんでしょうか、物理的な形態というよりもソフトウェア的にクローン化したもので、KorgのTritonというシンセサイザーです。Tritonというのは私は嘗て物理的な姿をしたTritonをレコーディングで使ったことが有りますが、アルバム「セイレーン(Siren)」の中で使われています。

[26:10]

で、Gm-800というのは、ギターの各弦毎に演奏に必要なパラメータを変える事ができます。その結果何ができるかと言いますと、弦毎に違う音色を設定する事ができる訳(わけ)ですね。巷にあるギターシンセサイザーのデモ演奏などを見てみると、しかし、殆どが、ピアノならピアノの音を設定したまま、「ギタリストがピアノを弾いています」とか、「ギタリストがサックスを演奏しています」といったような状況の中で、ギターシンセサイザーが使われているのですが、私はその弦毎に様々なパラメータを設定していくことができるということを利用して、各弦毎に統一されていないバラバラのサウンドを設定しました。その結果、普通にギターとして演奏している、それなりに整ったフレーズであるにも関わらず、弾かれる弦によってバラバラの音色でパッチワーク的な、継ぎ接ぎ的な音色でフレーズが構築される訳で、非常に奇妙なニュアンスが出て来るわけですね。

[27:41]

そんな演奏をやってみましたが、これが私としての一つの実験ケースでありまして、将来的にはこの方法をもう少し何か煮詰めた、アイデアなり何なりを付加しながら、私なりのギターシンセサイザーという物の使い方を作り出して行けたら良いなと言う感想を持ちながら、ライブを終えた訳であります。

[28:16]

（「そろそろ休憩しましょう」というキャプションと共に、平沢進が三匹の猫たちや一頭のチンパンジーと戯れながら、南国のビーチでトロピカル・ジュースを飲んでいるAI映像が映る）

[28:22]

ここで、五分間の休憩を挟みたいと思います。五分後に又お会いしましょう。

[28:31]

（タイトル画面「平沢進の亜種音TV 非コード人のアコード+タオの3つのエコー」の文字が映る。）

[33:30]

さて、それでは、「タオの3つのエコー東京編」についてお話をしたいと思います。「「タオの3つのエコー」はそもそも中国ツアーの為に作られたものでありまして、中国ツアーが終了した時点で、既にback Space Passは一度開催しておりますので、ここでは又違った視点からお話が出来れば良いかと思っております。

[33:56]

ここでも選曲についてちょっと話してみたいと思いますが、中国で演奏するのは初めてでありまして、初めての人達に対して「平沢というのはこういう活動をしている人間なんだ」という事を網羅的に分かって頂く為に、「平沢入門編」のような選曲をした訳であります。

[34:20]

で、そういう選曲のし方は日本ではやりません。しかし、初めて行く土地で、本当に自分が歓迎されているのか、どの程度認知されているのか、も分からず、しかも「圧倒的な異質感」というものを目標として乗り込んだ時に、他の人々(出演者)と圧倒的に違う空気を作り出す機会として認識してもらう為に、「平沢入門編」という選曲をした訳でありますが、更に、フェスティバル、フェス向けに構築された選曲である為に、結構何というか(観客が)ライブ的に乗り易い傾向の曲が並んでしまった訳で、それは勿論意図した事なんですが、私にとっては非常にきついライブになってしまいました。

[35:16]

声を張って歌い続ける選曲が多く、後半に「庭師King」と「Rotation(ロタティオン)」がくっついているという、これは私にとっては五分間全力ダッシュのようなもので、「無事歌い続ける事ができてほっとした」と言うようなきつい現場でありました。

[35:41]

日本の皆さんは、その選曲を、つまり言ってみれば「平沢入門編」、言い換えれば「平沢ヒット曲編」的な、悔しいですが、結果的にそのようになってしまった選曲を羨ましがったようですが、少なくとも、日本では、ライブの回数を多く、動画サイト等(など)でもある程度認知されているものとして、日頃のライブというものは、入門編というより、活動の、長い活動の断片的な選曲をしていくようになる訳(わけ)ですね。

[36:21]

しかし、まあ、初めての中国公演ということで、「一体あいつはどんな事をやったのか？」という事を皆さん興味が有ると思いましたので、東京で再現してみることにした訳(わけ)です。

[36:35]

そして、再現するに当たって一つ課題が有りまして、オープニングで中国語がアナウンスされるんですが、その中国語が一体何と言っているかについて、知って頂く必要があるという事です。それを、中国語を和訳したものをスクリーン上に表示するという事をやりました。そもそもそこで流れている中国語のアナウンスというのは、私がAIを使って中国語に訳したものであって、喋っているのもAIです。

[37:17]

「おそらくそれは違和感のある中国語だろう」と予測して、そうしています。しかし、むしろそれを期待して、誰にもチェックを依頼することはしませんでした。中国語が解かる人間にチェックをして貰うという段取りは省いています。あの変な、恐らく意図的に変な感じをライブの中に組み込みたかった訳(わけ)です。というのも、インターネット的なコミュニケーションというか、専門家や敷居の高いインフラを使わずに、コンピュータに助けられた市民的コミュニケーションという質感を出したかったからな訳(わけ)です。

[38:01]

そして東京では、和訳を右側に表示し、その日本語も、どことなく稚拙なものであり、インターネットのコミュニケーション的な質感を達成できていたのではないかと思います。

[38:20]

ということで、大体話そうと思っていたところはここ迄なんですが、既に「タオの3つのエコー」はお話ししてしまっているので、これ以上、ネタが、どうも私が乗り気になれるネタが有りませんので、ここから先は質問にお答えしていこうかと思います。Xのほうから、この2つのライブに関してされた質問を拾って来ましたので、それについてお答えしたいと思います。

[39:01]

まず、これで行きましょう。「非コード人のアコード(Accord of the Uncoded)」についての質問です。

（質問1）

Q：「本日ライブ配信を見ている際に気づいたのですが、Parthenonでのソロ演奏の隣に有るコンピュータのステッカーには『タオの3つのエコー』と書かれていましたが、これは何か深い意味が有るのでしょうか？」

A：という質問ですが、特に深い意味は有りません。これは私のズボラが招いた結果です。まず、この時使われていたコンピュータという物は、中国公演の時、メインで使われていたコンピュータです。そして、蓋のところにですね、蓋を開けた状態で使用する時に、蓋が観客側に向いている為、何かそこに、ライブに纏(まつ)わる何かをデザイン的に施したいな、と思って、デザイナーの中井(中井敏文/なかいとしふみ)さんに相談した所、中井さんがステッカーを作ってくれまして、「タオの3つのエコー」に関する大きなステッカーを作ってくれまして、それを貼りました。そして、そのツアーは終わったのですが、剥がすのをサボっていまして、そのまま使った訳(わけ)です。それが恐らくモジュラーシンセのソロの時にカメラか何かに大写しされたのではないでしょうか。つまり、そこには何の意味も無く、ただ私のズボラが招いた質問でありました。えーと、そして次です。

[40:52]

（質問2）

Q：「今回のライブと『非コード人のアコード(Accord of the Uncoded)』の照明チームは、『Hybrid Phonon 2566+』の照明チームとはまた別ですか？」

A：という質問です。『Hybrid Phonon 2566+』と今回の『非コード人のアコード(Accord of the Uncoded)』の照明チームは同じです。しかし、『Hybrid Phonon 2566』、つまり追加公演(Hybrid Phonon 2566+)前の本編ですね、の照明は違います。ここの所、一定期間を掛けて、私のライブチームは、音響と照明チームを入れ替えてきました。それで、今回の照明チームは、『Hybrid Phonon 2566＋』、そして中国公演、そして『非コード人のアコード(Accord of the Uncoded)』、それから『タオの3つのエコー　東京編』という公演の照明を務めてくれた照明のチームで、新しい照明のチームであります。今後もこのチームと一緒にライブを作って行きたいと考えております。

[42:14]

（質問3）

Q：「(アルバム)『unZIP』制作や、『非コード人のアコード(Accord of the Uncoded)』に於いて、マインド・マップを使用されましたか？」

A：という質問ですが、使用しておりません。何故かというと、色々な事を考えるのに、最近はAIを使うケースが多くなっています。その方がどうも手っ取り早いというケースも有ります。例えば、脳内で何かモヤモヤしていて言語化できない、或いは靄の掛かったようなイメージが有って、それを鮮明に描く事が難しいという時には、マインド・マップを使うのが適しています。そうでなくて、コンセプトや或いは具体的な事明確に有りながら未整理であったりとか、或いは、より拡張したい、というような時には、AIが適しており、AIを使いながら、曖昧だったものを明確化していくという作業が出来るのですけれども、何と言うか、マインド・マップに比べて言語化に近い作業の中で考えを纏(まと)めて行こうとする時には、AIを使うのが便利なようです。と、最近、経験的に分かって来ました。

頭の中の自分一人で行うセッションに於いて、マインド・マップが適しているのは、モヤモヤしたイメージとか、或いは言語化はされていないけれどもはっきりとしたビジュアルが有るというような状況の中で、何かを整理したり作り出したりする場合にはマインド・マップが適しています。で、今回の『非コード人のアコード』とか或いはunZIPとか、コンセプトがはっきりしているようなものには、マインド・マップというよりAIを使うということが適しているという事が分かり、今回はAIを使いました。そして次です。

[44:37]

（質問4）

Q：「『非コード人のアコード』では、『In A Model Room』のジャケットがオープニングに大々的に映し出されましたが、敢えて演じるのを避けた理由は何でしょうか？また、これから演じる考えはあるのでしょうか？」

A：ちょっと意味が分かり辛いのですが、「ファースト・アルバムの曲を演奏しなかったのはなぜか？」という事でしょうか。「あそこまではっきりとビジュアル的に見せておきながら、ファースト・アルバムを省いているとは怪しからん」という事でしょうか。冒頭でも説明しましたように、unZIPがどういうメッセージであるかという事を示す為に、最初の段階であるIn A Model Roomの幽閉された人々を映し、それが解放されていくというプロセスを見せる為に、あのようなビジュアルを採用しています。ですから、それは、ファーストアルバムの演奏の予告ではなく、むしろそこから遠ざかるという理由で使われています。冒頭の「非コード人のアコード」の選曲の時にもお話ししたのと全く同じ理由です。

そして、「今後ファーストアルバム的な古いものを演奏する考えはあるのでしょうか？」というご質問だったとは思うんですが、そういう予定が有るとも無いとも、断言する事が出来ません。それは必要に応じて引っ張り出して来る事が可能性としては有りますが、「ここで会場を盛り上げる為に一発『美術館(で会った人だろ)/Artmania』を演ってやろう」という目的で使う事は有りませんので、予めご了承ください。次の質問です。

[46:36]

（質問5）

Q：「『非コード人のアコード』では、会人(えじん)を巧みに操る平沢さんが印象的でしたが、あの技を身に着ける為には、どんな修行をされたのでしょうか？」

A：ということですが、修行は必要有りません。金銭を介した雇用関係が必要です。と言うのは嘘で、猫が猫缶(キャットフード缶詰)を開ける事に反応するように、会人(えじん)には人間のある部位の関節の音に反応して膝を折り曲げるという習性が有ります。それを利用したまでです。これで宜しいでしょうか。それでは次に「タオの3つのエコー」に関する質問を拾ってみましょうか。

[47:29]

（質問6）

Q：『タオの3つのエコー』で『夢みる機械(Dreaming Machine)』の前奏でスクリーンに映し出されていた足踏みと手拍子の映像、あれはどちら様ですか？」

A：という質問です。あれは、まずなぜあの映像が東京編では差し込まれていたかと言いますと、中国であれを演った時に、TAZZとSHOOが足を踏み鳴らしたり手拍子をしたりする様子が、ほぼ最前列の人にしか見えなかったという事が有りまして、東京ではあれを映像にして、より、何をやっているか認識し易い様にして、観客の対応に繋げていこうという事で、あれを映像化して嵌(は)め込んであります。で、あそこで足踏みをしているのはTAZZです。誰かエキストラを使って撮影したのではないかと思われるかも知れませんが、実際あれは、TAZZがスタジオに呼ばれて、TAZZが実際に高く足を上げて踏み下ろすという行為をやったものが撮影されて投影されたものであります。これでよろしいでしょうか。そして次です。

[49:02]

（質問7）

Q：「『非コード人のアコード』『タオの3つのエコー』といったライブのタイトルはどのように決めておられるのでしょうか？」

A：という質問です。なかなかこれは説明し辛いんですけれども、タイトルというのはコンセプトの体現ですから、それを表す言葉を組み合わせていくという作業な訳(わけ)です。では、どうやってその言葉を見つけるかという事ねんですが、抽象化と360度展望という方法を使います。これは私が勝手に付けた名前ですけれども、例えば、In A Model RoomのRoomから解放される事が「Roomからの解放」という具体的なエピソード(event)ではなく、「unZIP」とか、「非コード人のアコード」という言葉の使い方に変換される過程をお見せしましょう。

まず、Roomの中に閉じ込められている人間という状況を一段階抽象化すると、「不自由な空間に幽閉された人」あるいは「行動が制限されている人」のような抽象的な表現になります。一段抽象化したら、その段階にまで自分が登り、360度を見渡します。360度見渡した時に、同じ概念に相当するより抽象化レベルの低い、つまり具体的な状況を発見する努力をします。つまり、物理的に制限された状況を「圧縮」とか、「高度化された」というような、より具体的なエピソード化した言葉に言い換えて行く訳(わけ)です。

その具体性の段階に降りてくると、「unZIP」「非コード人のアコード」というような物語性を帯びた言い換えであるにも関わらず、同じ概念を表しているタイトルにする事が出来るというプロセスを経て作られる訳(わけ)です。お分かり頂けましたでしょうか。非常に言葉にしようとすると複雑というか分かり難(にく)いのですが、この抽象化と360度展望というのは、実際私が日頃Xを投稿する時にも頻繁に使うテクニックであります。注意して見ていてください。「おそらくこれは、そのプロセスを経て発言してるんだろうな」という事を見つける事が出来るかも知れません。そして、最後の質問ですね。これを最後としましょう。

[52:10]

（質問8）

Q：「『タオの3つのエコー』のBSP、Back Space Passで、レーザーハープの身振りはAIを参考にしたと仰っていましたが、今回のライブでもそうなのでしょうか？」

A：というご質問で有りますが、そうであり、そうではありません。と言うのも、私がAIに求めたのは、レーザーハープの振りではなく、単に体の動かし方で、それがレーザーハープの振りと振りの途中経過に挟まれたリするケースも有りまして、どこからどこ迄がハープの為の動きか、AIの提案かの境が、曖昧な所が有ります。

以前にも何度かお話ししている事ですが、レーザーハープはそもそも身体の大きな動きを必要としない電子機器の扱いに於いて、身体性を拡大する目的でも使われています。それ故にハープの演奏をする体の動きがどう見えるかと含めてレーザーハープのセッティングはアレンジされており、時には中に当て振りも含まれていることが有ります。それは動きに連続する流れを作るための途中経過として、不要な動きをわざと割り込ませるなどして作られています。

こうしたハープに関する動きと、AIの提案による動きが混同されていました。それが今回の「タオの3つのエコー」で私がステージの上で見せたAIの提案による動きです。と、レーザーハープによる必然的な動きの複合的な動きという事でした。

[54:15]

という事で、そろそろ終了の時間が近づいて参りました。今回は録画でお送りしました。なかなかインプラントの手術が終わらないのですが、いろいろ事情があるわけです。骨に穴を開けて金属を埋める訳(わけ)ですから、それがしっかりと固定される迄の期間、待つ時間が必要であるとか、色々ある訳(わけ)ですね。

そんな事で、まだまだ時間はかかります。インプラントの手術は全部で四か所ですが、既に二回は終わっております。この後、今月中に二回有って、大きな手術はそれで終わりです。顔に影響が出たり発音に影響が出たりという事は、今まで無かったのですが、何が起こるか、或いは口を開いた時に何か見えてしまうかも知れないということも含めて、大事を取って録画という事にさせて頂きました。

そして今後、何も突発的な重要イベントが無ければ、次回はフジロック(Fuji Rock Festival)の後にこの亜種音TVは放送される予定であります。それでは、また次回の亜種音TVでお会いしましょう。ごきげんよう。

[55:41]

[56:55]

平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV)(Sound Sub-Species TV), April 25, 2026 "非コード人のアコード＋タオの3つのエコー/Accord of the Uncoded + Three Echoes of the Dao" 編/Edition (Translation in English)

【Translation in English】

(The title screen displays the text "Hirasawa Susumu's Asyu-On TV/Sound Subspecies TV: Accord of the Uncoded + Three Echoes of the Dao")

[00:22]

Asyu-On TV is a streaming broadcast that airs after any major event I've participated in, such as a recording session, a live performance, or a concert tour.

The broadcast includes various anecdotes and thoughts related to the event, and, if time permits, answers to questions.

It's basically a live broadcast, but it's saved as an on-demand video afterward, so you can watch it anytime.

Don't worry if you missed it.

[01:31]

So, today I'd like to begin the talk show titled "Asyu-On TV 'Accord of the Uncoded' + 'Three Echoes of the Dao Tokyo' Edition."

[01:41]

However, before that, there's something I'd like to explain. Actually, this broadcast isn't live; it's a pre-recorded program.

[02:26]

Although it's a recording, it's basically unedited to give it a live feel, so there may be some parts that are difficult to see or hear. Again, please forgive me.

[02:41]

Let's begin with "Accord of the Uncoded."

[03:09]

[03:34]

[04:11]

[05:32]

[06:45]

[07:26]

That's how I ended up with that selection of songs. In the process, it resulted in a list of songs that hadn't been performed in a very long time.

※[Note: The Concert "unZIP: Accord of the Uncoded" Setlist in Osaka:

[07:42]

I'd like to talk a little about this. It's an interesting result that several songs were performed for the first time in over 30 years.

[07:57]

For example, GRID. I don't trust it much, but according to the AI's research, GRID was performed for the first time in 34 years.

[08:13]

[08:44]

[09:17]

[10:07]

However, when I think about just how much I've worked, it sends shivers down my spine, but thanks to everyone's support, my imagination hasn't run dry yet, and I'm always able to focus on new works.

[10:35]

As for the selection of songs, it had the characteristics described up to this point.

[10:43]

[11:08]

※[Note: Maywa Denki: https://www.maywadenki.com/biography/bio_en/ ]

[11:28]

[12:18]

[12:53]

[13:54]

[14:19]

[15:32]

This is a wonderful feature that can be used for some show-up and leads to new visual performances, so please look forward to it at Fuji Rock.

[15:44]

[16:19]

[17:10]

[17:34]

[18:24]

[19:09]

[19:29]

[20:44]

[21:07]

However, I haven't given up hope or the possibility of doing something with Kenji Konishi.

[21:19]

[22:26]

While I was tinkering with it in my limited time, I decided, "Okay, let's try using it live," and that's what I did the other day.

[22:39]

[23:38]

I used to use guitar synthesizers as part of an ensemble-like nuance within a band sound. Or, to be more unconventional, I would do strange things like producing percussion sounds from a guitar.

[24:00]

[25:05]

I'm using a method where I transfer the signal that activates the synthesizer created by the GM-800 to a software synthesizer, and then use that software synthesizer as the sound source.

[24:25]

[26:10]

[27:41]

[28:16]

(An AI video is shown with the caption "Let's take a break now," showing Susumu Hirasawa playing with three cats and a chimpanzee while drinking tropical juice on a tropical beach.)

[28:22]

Now, I'd like to take a five-minute break. I'll see you again in five minutes.

[28:31]

(The title screen displays the text "Susumu Hirasawa's Asyu-On TV: Accord of thee Uncoded + Three Echoes of the Dao")

[33:30]

[33:56]

[34:20]

[35:16]

[35:41]

[36:21]

However, since it was my first performance in China, I thought you all would be interested in "what exactly did he do (in that country)?", so I decided to recreate it in Tokyo.

[36:35]

[37:17]

[38:01]

[38:20]

[39:01]

Let's start with this one. It's a question about "Accord of the Uncoded."

(Question 1)

Q: "I noticed while watching the live stream today that the sticker on the computer next to your solo performance in Parthenon said 'Three Echoes of the Dao.' Does this have any deeper meaning?"

[40:52]

(Question 2)

Q: "Is the lighting team for this live performance and 'Accord of the Uncoded' different from the lighting team for 'Hybrid Phonon 2566+'?"

[42:14]

(Question 3)

Q: "Did you use mind mapping in the production of (the album) 'unZIP' and (the concert) 'Accord of the Uncoded'?

[44:37]

(Question 4)

[46:36]

(Question 5)

Q: "In 'Accord of the Uncoded,' Hirasawa's skillful manipulation of the Ejin was impressive. What kind of training did you undergo to acquire that skill?"

[47:29]

(Question 6)

Q: "In 'Three Echoes of the Dao,' the video of foot stomping and hands clapping that was projected onto the screen during the intro to 'Dreaming Machine,' who was that?"

[49:02]

(Question 7)

Q: "How do you decide on live performance titles such as 'The Accord of the Uncoded' and 'Three Echoes of the Dao'?"

[52:10]

(Question 8)

Q: "You mentioned that in the BSP, Back Space Pass, from 'Three Echoes of the Dao,' you referenced AI for the laser harp gestures. Is that also the case for this live performance?"

[54:15]

And unless there are any unexpected major events, the next episode of this Asyu-On TV will be broadcast after Fuji Rock Festival. Until then, see you next time on Asyu-On TV. Goodbye.

[55:41]

[56:55]

Emcee at unZIP: Accord of the Uncoded (Kaku P-Model) shows 核P-MODEL: "unZIP/非コード人のアコード" コンサートのMC

December 18, 2025
.

(Translation in English)

Susumu Hirasawa: Welcome to the unZIP concert, which has been almost a year since recording of the album finished and is now set to be released. (Applause) If you listen to the album "unZIP," you'll notice that I'm leaning a little more towards my solo work, and it seems like Kaku P-MODEL and my solo works are finally merging together.

For some reason, Ejin are also on stage. (Laughs) This format is something that I can't escape, or rather, can't leave out.

So, I'd like to introduce the members of the group, Ejin, thanking them once again for making this visually stunning stage possible.

This is SSHO (松/meaning pine tree). And TAZZ (鶴/meaning crane). Okay then. (The encore song, Moiporia, begins.)

2025年12月18日

(Japanese/日本語)

平沢進: レコーディング終了から概ね1年が経って発売が決まりましたunZIPの公演にようこそいらっしゃいました。(拍手) unZIPを聴いてもらうと分かると思うんですけれども、若干ソロに接近して、そろそろソロと核P-MODELが融合するのではないかという気配が見えております。

ステージにも何故か会人(えじん)がいる、という。(笑) この形はですね、逃せない、逃れられないというか、外せない形式となっております。そこで、この度も会人のお蔭で、こういうビジュアルなステージが出来ることを感謝しつつ、会人を紹介したいと思います。

会人SSHO(松)です。そして、会人TAZZ(鶴)です。それでは。(アンコール曲のMoiporiaが始まる。)

-----

December 19, 2025
.

(Translation in English)

Susumu Hirasawa: Even though it isn't a Hirasawa solo performance, Ejin are on stage, and looking at it from the outside, it is hard to tell if it is a solo performance or Kaku P-MODEL, since there is also a laser harp. And it isn't even clear whether it is Kaku P-MODEL or P-MODEL. (Laughs)

That's the chaotic stage. Welcome, everyone. (Applause) And it's all thanks to Ejin that we were able to put on such a well-planned stage in the first place.

In honor of Ejin, I'd like to introduce him here. This is Ejin SSHO (Matsu). This is SSHO running. And this is Ejin TAZZ (Tsuru). Okay then. (The encore song, Julia Bird, begins.)

-----

2025年12月19日

(Japanrse/ 日本語)

平沢進: ソロでもないのにステージに会人(えじん)がいるということで、見た目には、ソロなのか、レーザーハープもあるし、ソロなのか、核P-MODELなのか分からないという。そして、核P-MODELなのか、P-MODELなのかもよく分からないという。(笑)

そのような混沌としたステージでございます。ようこそ、皆さん。(拍手) そして、そもそも、そのような企画的なステージを実現できるのも、会人のお蔭です。

会人に敬意を表して、ここで紹介したいと思います。会人SSHO(松)です。小走りのSSHOです。そして会人TAZZ(鶴)です。それでは。(アンコール曲のJulia Birdが始まる。)

----------

*Note by the translator-1: Ejin TAZZ and SSHO had been the support members for the Susumu Hirasawa's solo shows, not for the shows of Kaku P-MODEL(the other project by Susumu Hirasawa), until 2018 when they first performed in Kaku P-MODEL's shows.

.*Note by the translator-2: P-Model: A band led by Susumu Hirasawa that was active from 1979 to 2000. The band always had three to four members including Hirasawa.

Kaku P-Model: A music unit started by Susumu Hirasawa alone in 2004 and still active today, this unit inherits the techno pop and punk musical style of P-Model.

Hirasawa's solo project, which he has been continuing since 1989, has a more natural style.

Phase-0, unZIP

Phase-0

発祥へ　ヒト科の血に澱なく香るバラ

発祥へ　死の火を踏み海辺の瑠璃を通り

叶った自らに今段々輝度は増し

刺さった矢の下で邪は這い這い消える

発祥へ　凛と降りるオーロラキミを輝り

発祥へ　キミのゼロへ可能な億を咲き

削った石くれに今堂々と現れる

眠った黄金のキミ初々しくも

起きろ　まだ半分雨の中

起きろ　「陽の変化なら」と聞こえ

起きろ　まだ半分塵の中

起きろ　美の分子なると悟り

起きろ　まだ半分無知の中

起きろ　知の歓喜なると覚え

発祥へ　笑みひとかど月へと届くオーラ

発祥へ　風化に砥ぎ現れ無二の花

守った原初の火　今煌々と燃え盛り

放った矢の先で業　舞い舞い燃える

起きろ　まだ半分雨の中

起きろ「陽の変化なら」と聞こえ

起きろまだ半分塵の中

起きろ美の分子なると悟り

起きろまだ半分無知の中

起きろ知の歓喜なると覚え

-----

(Translation in English)

Phase-0

To the origin, the rose smells pure in the blood of the hominids.

To the origin, stepping on the fires of death
and passing through the lapis lazuli seashore

Now, as my wish comes true, my brightness gradually increases.

Under the arrow that pierced their residence, the evil disappears,
crawling and crawling

To the origin, the aurora descends majestically, shining upon you.

To the origin, the billions of possibilities bloom in your zero.

Now, majestically appearing in the carved stone.

You, asleep, golden, yet innocent.

Wake up, still partially in the rain.

Wake up, hearing the words "wish there was a change in the sun"

Wake up, still partially in the dust.

Wake up, realizing that you are the molecules of beauty.

Wake up, still partially in ignorance.

Wake up, remembering that knowledge contains much joy.

To the origin, a significant smile, the aura that reaches the moon.

To the origin, a unique flower appears, sharpened by the weathering.

The primordial fire that have been protected now burns brightly.

At the tip of the arrow being shot, karma dances and burns.

Wake up, still partially in the rain.

Wake up, hearing the words "wish there was a change in the sun"

Wake up, still partially in the dust.

Wake up, realizing that you are the molecules of beauty.

Wake up, still partially in ignorance.

Wake up, remembering that knowledge contains much joy.

-----

(Roaniazed Japanese)

Fēzu - zero

hasshō e hito-ka no chi ni ori naku kaoru bara

hasshō e shi no hi o fumi umibe no ruri o tōri

kanatta mizukara ni ima dandan kido wa mashi
sasatta ya no shitade ja wa hai hai kieru

hasshō e rinto oriru ōrora kimi o teri

hasshō e kimi no zero e kanōna oku o saki

kezutta ishi kure ni ima dōdō to arawareru

nemutta ougon no kimi uiuishiku mo

okiro mada hanbun ame no naka

okiro `hi no henge nara' to kikoe

okiro mada hanbun chiri no naka

okiro bi no bunshi naru to satori

okiro mada hanbun muchi no naka

okiro chi no kanki naru to oboe

hasshō e emi hito kado tsuki e to todoku ōra

hasshō e fūka ni togi araware muni no hana

mamotta gensho no hi ima kōkō to moesakari
hanatta Ya no saki de gō mai mai moeru

okiro mada hanbun ame no naka

okiro `hi no henge nara' to kikoe

okiro mada hanbun chiri no naka

okiro bi no bunshi naru to satori

okiro mada hanbun muchi no naka

okiro chi no kanki naru to oboe

Parthenon/パルテノン, unZIP

パルテノン

サルビアの燃える廃墟で見た夢

千年超えた流麗の屋根の陽あー

「努々」と声が聞こえ人が泣き

答えが実る木の下で狂人はあー

「ハロー人類」と立ち上がり

開闢の神は無休で歴を回し

民はマフィアのオペラに生きあーあー

とりどりに謂れの無い時は過ぎ

運命が降る道の上狂人はあー

「ハロー人類」と歩き出し

見上げれば白きパルテノン

意味もなくただ重く

終わりなど誰も夢見ぬ

問われなき荘厳の絵

人質のアテナの髪に陽は照り

千年超えただまし絵の末路であー

「努々」と脅す剣の音鈍く

世界が見える丘の上狂人はあー

「ハロー人類」と駆け下りて

見上げれば白きパルテノン

意味もなくただ重く

終わりなど誰も夢見ぬ

問われなき荘厳の絵

見上げれば白きパルテノン

意味もなくただ重く

終わりなど誰も夢見ぬ

問われなき荘厳の絵

-----

(Translation in English)

Parthenon

A dream I had in the ruins where salvia blooms like fire

The sun shines on the graceful roof, over a thousand years old Ah,

A voice calling out "Never disobey" is heard, and people cry.

Under the tree where the answer bears fruit, the madman...Ah,

"Hello, humanity!" he says, standing up

The God of Creation turns the calendar without rest,

and the people live for the mafia's opera. Ah, ah,

Time without reason passes in a variety of ways,
and on the road where fate descends, the madman...Ah,

"Hello, humanity!" he says, and begins to walk

Looking up, the white Parthenon

is heavy, with no meaning,

and no one dreams of an end.

A magnificent painting that is never questioned

The sun shines on the hair of the hostage Athena.

At the end of a thousand-year-old optical illusion, Ah,

The sound of a sword threatening "Never disobey" is dull.

On the hill where the world can be seen, the madman... Ah

"Hello, humanity!" he said, running down the hill.

Looking up, the white Parthenon

is heavy, with no meaning,

and no one dreams of an end.

A magnificent painting that is never questioned

Looking up, the white Parthenon

is heavy, with no meaning,

and no one dreams of an end.

A magnificent painting that is never questioned

-----

(Romaniazed Japanese)

Parutenon

sarubia no moeru haikyo de mita yume

sen-nen koeta ryūrei no yane no hi ah

`Yume yume' To koe ga kikoe hito ga naki

kotae ga minoru ki no shita de kyōjin wa ah

`harō jinrui' to tachi agari

kaibyaku no kami wa mukyū de reki o mawashi

tami wa Mafia no opera ni iki ah ah

toridori ni iware no nai toki wa sugi

unmei ga furu michi no ue kyōjin wa ah

`harō jinrui' to aruki dashi

miagereba shiroki parutenon

imi mo naku tada omoku

owari nado dare mo yumeminu

toware naki sōgon no e

hitojichi no Atena no kami ni hi wa teri

sen-nen koeta damashi e no matsuro de ah

`Yume yume' to odosu ken no oto nibuku

sekai ga mieru oka no ue kyōjin wa ah

`harō jinrui' to kake orite

miagereba shiroki parutenon

imi mo naku tada omoku

owari nado dare mo yumeminu

toware naki sōgon no e

miagereba shiroki parutenon

imi mo naku tada omoku

owari nado dare mo yumeminu

toware naki sōgon no e

Haldyn Dome/ハルディンドーム, unZIP

ハルディンドーム

達成の空砲は晴天に響く

天命の復権で天蓋を飾り

遥か丘陵で呼び合う民の

完全な全人の堰は解かれて

長き蒙昧の夢はただ夢

覚めて憩えよ無二の子あー

声明は届く困憊のキミへ

点々となびく半旗を通り

千年の呪詛は焼け落ちたと

牽制の銃声は雲を貫き

長き蒙昧の夢はただ夢

覚めて憩えよ無二の子あー

見上げよ知らせは

天蓋に映る

キミの全てから

世界が生まれた

キミの全てから

世界が生まれた

性急な急流の飛沫のように

生まれて消えた妄想の宇宙

キミはキミと遥かで鳴る

万年を吹いた万全の風

長き蒙昧の夢はただ夢

覚めて憩えよ無二の子あー

見上げよ知らせは

天蓋に映る

キミの全てから

世界が生まれた

キミの全てから

世界が生まれた

-----

(Translation in English)

Haldyn Dome

The blank shots of accomplishment echo in the clear sky

The heavens are adorned with the restoration of divine mandate

The people call out to each other on the distant hills

The dam that confined the complete whole person has been lifted.

The long dream of ignorance is just a dream

Awake and rest, my unique child Ah

The message reaches you, exhausted

Through the fluttering half-mast flags here and there

Telling "The thousand-year curse has burned away"

The warning gunfire pierces the clouds

The long dream of ignorance is just a dream

Wake up and rest, my unique child Ah

Look up, the news is

Reflected in the canopy

From all of yourself

The world was born

From all of yourself

The world was born

Like the spray of a rushing torrent

A delusional universe born and vanished

Telling "You are you", howing far away,

the perfect wind that has blown for a thousand years

The long dream of ignorance is just a dream

Wake up and rest, my unique child Ah

Look up, the news is

Reflected in the canopy

From all of you

The world was born

From all of you

The world was born

-----

(Romanized Japanese)

Harudin dōmu

tassei no kūhō wa seiten ni hibiku

tenmei no fukken de tengai o kazari

haruka kyūryō de yobi au tami no

kanzen'na zenjin no seki wa tokarete

nagaki mōmai no yume wa tada yume

samete ikoe yo muni no ko ah

seimei wa todoku konpai no kimi e

tenten to nabiku hanki o tōri

sen'nen no juso wa yake ochita to

kensei no jūsei wa kumo o tsuranuki

nagaki mōmai no yume wa tada yume

samete ikoe yo muni no ko ah

miageyo shirase wa

tengai ni utsuru

kimi no subete kara

sekai ga umareta

kimi no subete kara

sekai ga umareta

seikyūna kyūryū no shibuki no yō ni

umarete kieta mōsō no uchū

kimi wa kimi to haruka de naru

man'nen o fuita banzen no kaze

nagaki mōmai no yume wa tada yume

samete ikoe yo muni no ko ah

miageyo shirase wa

tengai ni utsuru

kimi no subete kara

sekai ga umareta

kimi no subete kara

sekai ga umareta

Veronica/ヴェロニカ, unZIP

Veronica/ヴェロニカ

眠るニューロンの空

届きただ過ぎるだけの声

星は物語の中で

姿を変え嘘を生きる

来た道記憶になく

見えずただ降る餌で満ちる日

街は今奇形を歌い

キミを捕らえ知恵を殺し

凍えた嗚咽の路上で「幕」「間」の窓を見た

飛び散る火花のヴェロニカ

ニューロンの火を咲き

燃えだす苦渋の「幕」「間」で謎解く人を見た

思索に飛び散るヴェロニカ

ニューロンの火を咲き

手負いて歌う影と

眠りただ過ぎるだけの声

月は物語の中で

姿を変え嘘を生きる

凍えた嗚咽の路上で「幕」「間」の窓を見た

飛び散る火花のヴェロニカ

ニューロンの火を咲き

燃えだす苦渋の「幕」「間」で謎解く人を見た

思索に飛び散るヴェロニカ

ニューロンの火を咲き

-----

(Translation in English)

Veronica

A sky of sleeping neurons

A voice that only reaches you and passes by,

The star, in a story,

changes its form, and lives a life of lies

I can't remember the way I came

The day filled with *falling *feed, not being able to see

The city now sings of deformity

Capturing you, killing your wisdom

On the frozen, sobbing street, I saw a window in "the intermission" of "a play"

Veronica, with sparks flying

Making the fire of neurons bloom

I saw someone solving a mystery during "the intermission" of "a play" that started burning in distress

Veronica, in thought, with sparks flying

Making the fire of neurons bloom

A wounded, singing shadow and

a voice that only reaches you and passes by

The moon, in a story,

changes her form, and lives a life of lies

On the frozen, sobbing street, I saw a window in "the intermission" of "a play"

Veronica, with sparks flying

Making the fire of neurons bloom

I saw someone solving a mystery during "the intermission" of "a play" that started burning in distress

Veronica, in thought, with sparks flying

Making the fire of neurons bloom

Notes *falling feed: 降る餌(furu e): This is a play on the word "震え(furue/trembling)."

-----

(Romanized Japanese)

Nemuru nyūron no sora

todoki tada sugiru dake no koe

hoshi wa monogatari no naka de

sugata o kae uso o ikiru

kita michi kioku ni naku

miezu tada furu e de michiru hi

machi wa ima kikei o utai

kimi o torae chie o koroshi

kogoeta oetsu no rojō de 'maku' 'ma' no mado o mita

tobichiru hibana no veronika

nyūron no hi o saki

moe dasu kujū no 'maku' 'ma' de nazo toku hito o mita

shisaku ni tobichiru veronika

nyūron no hi o saki

teoite utau kage to

nemuri tada sugiru dake no koe

tsuki wa monogatari no naka de

sugata o kae uso o ikiru

kogoeta oetsu no rojō de 'maku' 'ma' no mado o mita

tobichiru hibana no veronika

nyūron no hi o saki

moe dasu kujū no 'maku' 'ma' de nazo toku hito o mita

shisaku ni tobichiru veronika

nyūron no hi o saki

PHASE-6, unZIP

PHASE-6

重ねた日の高さに

知恵の木届かず

薄皮を剥ぐような

この世の終わりに

世界の花　人を見初めて

夢がまだ悪夢なら

覚めればそれまで

産声のすぐそばで

破局は始まり

宇宙の歌　人を憩わせ

放った火は　憤怒の鳥

刺さった杭は　胸の奥

放った火　踊った夜

鳥に吠え杭焼け落ちる日

巡って来る　血は赤く

戻って来る　思慮深く

放った火　踊った夜

胸に生まれる清き空で

時化の日の灯台で

光は売られた

薄皮を剥ぐような

この世の終わりに

世界の花人を見初めて

放った火は　憤怒の鳥

刺さった杭は　胸の奥

放った火　踊った夜

鳥に吠え杭焼け落ちる日

巡って来る　血は赤く

戻って来る　思慮深く

放った火　踊った夜

胸に生まれる清き空で

放った火は*憤怒の鳥

戻った日は　創世へ

-----

(Translation in English)

PHASE-6

The tree of knowledge cannot reach

the height of the *overlapped *Sun

At the end of the world

that came like peeling away thin skins

The flower of the world　fell in love with humanity

If the dream is still a nightmare,

waking up will stop it

Right at the beginning of the baby's life,

the catastrophe began

The song of the space comforts humanity

The fire I set is a bird of rage

The stake that is stuck is deep in my heart

The fire I set The night I danced

The day I howl at the bird and the stake burns down

The blood that circulates　is red

It comes back thoughtfully

The fire I set The night I danced

In the pure sky born in my heart

Light was sold at the lighthouse

on a stormy day

At the end of the world

that came like peeling away thin skins

The flower of the world　fell in love with humanity

The fire I set is a bird of rage

The stake that is stuck is deep in my heart

The fire I set The night I danced

The day I howl at the bird and the stake burns down

The blood that circulates　is red

It comes back thoughtfully

The fire I set The night I danced

In the pure sky born in my heart

The fire I set is a bird of rage

On the day I return, it goes back to creation of the world

Notes: *'overlapped Sun': 重ねた日(kasaneta hi) could also mean 'the days that have piled up/the days that went by'

*憤怒: has two readings: fundo and funnu. "Fundo" (rage) and "funnu" (wrath) are the same word, both meaning "extreme anger." However, "funnu" is the reading that has been used historically and customarily, and is commonly used in Buddhist terminology (e.g., the "wrathful appearance" of Acala). On the other hand, while "fundo" is not incorrect as a modern reading, "funnu" is more commonly used when reading aloud.

-----

(Romanized Japanese)

PHASE - 6

kasaneta hi no takasa ni

chie no ki todokazu

usukawa o hagu yōna

konoyo no owari ni

sekai no hana hito o mi somete

yume ga mada akumu nara

samereba sore made

ubugoe no sugu soba de

hakyoku wa hajimari

uchū no uta hito o ikowase

hanatta hi wa fun'nu no tori

sasatta kui wa mune no oku

hanatta hi odotta yoru

tori ni hoe kui yakeochiru hi

megutte kuru chi wa akaku

modotte kuru shiryo fukaku

hanatta hi odotta yoru

mune ni umareru kiyoki sora de

shike no hi no tōdai de

hikari wa urareta

usukawa o hagu yōna

konoyo no owari ni

sekai no hana hito o misomete

hanatta hi wa funnu no tori

sasatta kui wa mune no oku

hanatta hi odotta yoru

tori ni hoe kui yakeochiru hi

megutte kuru chi wa akaku

modotte kuru shiryo fukaku

hanatta hi odotta yoru

mune ni umareru kiyoki sora de

hanatta hi wa funnu no tori

modotta hi wa sōsei e

hirasawaslyrics

Summary: 平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV) April 25, 2026

平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV)(Sound Sub-Species TV), April 25, 2026 "非コード人のアコード ＋ タオの3つのエコー/Accord of the Uncoded + Three Echoes of the Dao" 編/Edition (Translation in English)

平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV)(Sound Sub-Species TV), April 25, 2026 "非コード人のアコード ＋ タオの3つのエコー/Accord of the Uncoded + Three Echoes of the Dao" 編/Edition (Japanese/日本語)

平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV)(Sound Sub-Species TV), April 25, 2026 "非コード人のアコード ＋ タオの3つのエコー/Accord of the Uncoded + Three Echoes of the Dao" 編/Edition (Translation in English)

Emcee at unZIP: Accord of the Uncoded (Kaku P-Model) shows 核P-MODEL: "unZIP/非コード人のアコード" コンサートのMC

Phase-0, unZIP

Parthenon/パルテノン, unZIP

Haldyn Dome/ハルディン ドーム, unZIP

Veronica/ヴェロニカ, unZIP

PHASE-6, unZIP

平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV)(Sound Sub-Species TV), April 25, 2026 "非コード人のアコード＋タオの3つのエコー/Accord of the Uncoded + Three Echoes of the Dao" 編/Edition (Translation in English)

平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV)(Sound Sub-Species TV), April 25, 2026 "非コード人のアコード＋タオの3つのエコー/Accord of the Uncoded + Three Echoes of the Dao" 編/Edition (Japanese/日本語)

平沢進の亜種音TV / Susumu Hirasawa's Asyu-On TV(Ashu-On TV)(Sound Sub-Species TV), April 25, 2026 "非コード人のアコード＋タオの3つのエコー/Accord of the Uncoded + Three Echoes of the Dao" 編/Edition (Translation in English)

Haldyn Dome/ハルディンドーム, unZIP