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

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

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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"

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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."

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

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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.

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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.

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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.

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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.

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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.

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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.