security dilemma


  1. 右側の絵を鑑賞する。(絵を描いたのはセキネコさん)
  2. 下記の文章を読む。(文章を書いたのはデール)
  3. 読みながらデールの下手な日本語は優しい目で。
  4. 途中、?Meytelさんの動画を視聴する。
  5. 梯子ノ上デの次のライブの日は、手帳などを確認する。あ、空いていないね。ちょっと残念がる。
  6. 最後に、デールに気になった動画を、お暇なら視聴する。


how to use this blog post:

  1. look at the picture to the right (by sekineko).
  2. read the following sentences (by dale).
  3. put up with dale's corny writing.
  4. midway through, look at the video (by ?meytel).
  5. read about the next hashigo show. check the date in your calendar. busy, right? too bad.
  6. finally, have a look at some videos we like.

something like that. dozo.

「笑み」by セキネコ
「笑み」by セキネコ










digression #1.


once in a while people ask me, "why do you sing in japanese?"


when i was in the u.s. of course i wrote in english. when i came to japan, i assumed that, like in the u.s., if songs weren't in the native language, nobody would want to listen to them. not to say that absolutely no one in the u.s. listens to foreign-language music, but people are generally partial to english.


japanese friends have since informed me that english-language songs are perfectly fine in japan, too. but it's too late for me now...


okay, end of digression for now. on to the show.




  1. 象徴的
  2. 0+0-0
  3. 的外れ
  4. メリケンサック
  5. 着物と墓穴
  6. 液体
  7. 飲酒散歩(YouTube
  8. 妄想力
  9. ベルリンの壁

the show was at Lunar in minami-aoyama. the guy who runs the place has been a big supporter of us since way back. in fact, he's the one who introduced d. to s. and y., which is how hashigo formed. thanks!


our set list:

  1. shochoteki
  2. 0+0-0
  3. matohazuré
  4. meriken sakku
  5. kimono to boketsu
  6. ekitai
  7. inshu sanpo (YouTube)
  8. mosoryoku
  9. berurin no kabé

梯子ノ上デの前に、岡崎康司さんが演奏した。男子アコギ弾き語りです。本人のサイトを検索してみたけど、見つからない… ググってみてくださいね。







before us, yasushi okazaki played. he's an acoustic SSW. tried finding a website for him but couldn't. maybe you should try and google him...


after us, ?meytel played. in the past we played with her at ruina, where she went by the name ?flooowerchildren. in my (shallow?) analysis, what she's doing is an artistic development of japanese pop music. but that's a statement that invites misinterpretation...


basically, i think she incorporates elements of japanese pop into a youthful contemporary interpretation that's high in artistic value while remaining essentially pop. she's also clearly well versed in non-japanese styles and has a confident grasp of a variety of genres. her originality is apparent, and i was also struck by how her sound had evolved between our last bill together and this time. that sort of evolution is a sign of an artist, in my opinion.


she played keyboards with some pre-recorded music and projected self-produced videos during the songs. i found an example on YouTube and pasted it below.









もう一つの理由は、英語の作詞家から大きな影響を受けて、その「感じ」を日本語で表そうとしているからだ。向こうの優れた作詞家、例えばElliott SmithやSam Beam、Thom Yorke、Black Francis、Stuart Murdochなどは、それぞれの語感が神妙で素晴らしくて、本人以外の誰も持っていないセンスで詞を作っていて、しかもものすごく広い語彙から言葉を選択しているのだ。真似なんかできないけれど、なんとかそういった感じで語を選択したいと思って作っている。



digression #2.


i also sometimes get asked, "why do you sing in weird japanese?"


well, i'm not japanese, so that's one strike. what's a weird lyric, what's a normal one... i can't tell. also, i myself am weird. i think.


and anyway, even if i decided i wanted to compete on the marketplace of "regular lyrics", i'd never stand a chance against all the native speakers. i'd be a bicyclist at the Indy 500. might as well do something weird instead.


another reason is, the lyricists i love in english (Elliott Smith, Sam Beam, Thom Yorke, Black Francis, Stuart Murdoch, etc.) all write unique, striking, bold lyrics. they write like only they can, using the full range of english for potential lyrical material. in general, we english speakers tend to delight in lyrical surprises. i can't come close to imitating them, but i try in my way to reflect that influence in a different language.


i've been told, "you use japanese in your lyrics that no japanese would ever choose." this may not exactly be a compliment. but it shows that, in japan, the langauge that might appear in a song is a sectioned-off subset of the whole language. i don't think that's true of the english in lyrics in the west.






okay. back to business.


the next hashigo show is on thursday, may 30, at ongaku no jikan in mitaka. this is where you should all check your schedules, suck in your breath, and say "muzukashii". details for the show are here (or will be once they're released).


before that, dale will proselyte for the hashigo cause at an event in koenji on the 20th. there will also be a secret show on the 19th, the details of which i will not tell you unless you contact me about it. details on solo shows are here.




on this blog, at the end i often paste in videos of music that have i'm into at the time. the other day, s. and y. asked me, "why do you keep doing that?" meaning, in other words, even they didn't see the point. sorry...


well, the point as i conceive it is, this is what i'm into these days (a little or a lot into it), and i want to share it with you guys. and i sort of think there may be something similar between this stuff and hashigo. so, if you've got a minute, please give it a listen.

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