Showing posts with label Tokyo. Show all posts
Showing posts with label Tokyo. Show all posts

Tuesday, 10 February 2026

MASAHIRO TAKAHASHI — DREAMIES

In 'Dreamies' we hear an awakening of the world. The slow trickle of water, the unfurling of leaves, the bursting of snowdrops through wet solid soil. It is a soundscape for the thawing of things, a farewell to winter while still on the threshold of its realm, with bare trees sparkling with crystallline fragments of rain.

Created by the Sendai-born, Toronto-based composer and musician Masahiro Takahashi, the track is our first glimpse of his new album, In Another. For this project Takahashi builds on collaborative approach that characterised his previous album Humid Sun (2023), adding a small orchestra's worth of musicians to enact his creative vision.

The result of this – of his "trading Ableton sequences for lead sheets" – is a rich, full sound evolves with an organic quality of live music, an unseen magic in the air. In this musical mapping 'Dreamies' feels like an aestheticised symphonic tuning up, simple and synthesised to begin with, adding textures and different qualities of sound in a veritable sonic buffet, as if filling out the lines of a painting.

But there is also more than just a nod to the embryonic chamber pop that Brian Wilson brought to life on The Beach Boys' Pet Sounds — the intricacies and chimes and dynamic progressions of 'Let's Go Away For Awhile', for example, and the lavish layers in the final third of 'You Still Believe In Me'. In this regard, Takahashi's own singular vision and vocal additions in 'Dreamies' feel very kindred.



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Tuesday, 6 January 2026

WET LEG — POKEMON

There is some joy in Wet Leg titling this song 'pokemon' (or should I say Nurse Joy, right?). Mostly because, when 'Chaise Longue' popped into this material plane back in 2022, I never clocked them for a band that'd name a song after this mega-franchise. But that's just a small joy.

Lyrically, the 'pokemon' weaves a low-key less on-the-run Thelma and Louise love story. "Oh, to be yours, to be driving away..." sings frontwoman Rhian Teasdale, painting a poetic picture with cute couplets like

But nothing hits like you and me
"I love you, " I say casually

and

You taste so sweet, like grenadine
You are my favourite human being

There are a couple of references to partying, what with the grenadine (above) and getting "another round". Starting the song with "Get lost, get loose..." feels like an echo of famed rock hedonist Jim Morrison, who utters the words "Get loose!" in the intro for 'Changeling', the first track on L.A. Woman (1971), his final album with The Doors.

A more obscure reference can be found: "Giddy up, you want to go faster? / Call me the demon headmaster" — quite a throwback to a British TV series from the '90s called The Demon Headmaster (it was about a headmaster who was a demon). It is followed by the line that names the song (and another '90s reference): "You just gotta choose me, baby, yeah, I'll be your Pokémon."

Showing how far the Teasdale (and the band) has come, the chorus features a line about driving from Isle of Wight to Tokyo, which is really quite a long way culturally, population-wise, and geographically. Ultimately, it's a driving song, a mood evoked not only through the road-tripping lyrics but in the galloping rhythm of the track, the gleaming guitars like a half-setting sun glinting on the metallics of a car.

The video for the 'pokemon' basically illustrates the thoughts and feelings evoked within the song, except in place of another human being it's about a woman who's in a relationship with a giant egg. Which, incidentally, makes it feel a lot more Tamagotchi-coded than Pokémon related.


  • 🔔 The video for 'pokemon' by Wet Leg was directed by Elliott Arndt (from the band Faux Real, who often support Wet Leg on tour). The woman in the relationship with the giant egg is played by Alice Longyu Gao, who is a DJ, producer and all-round artist in her own right.
  • 🔔 'pokemon' is, of course, taken from Wet Leg's much-anticipated second album moisturizer, which was released in July 2025 via Domino. You may stream the album, purchase it in vinyl form or digitally by heading over to Bandcamp.

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Friday, 13 September 2024

CUUSHE FADED CORNERS


Tokyo-based singer and producer Cuushe (aka Mayuko Hitotsuyanagi) is summoning the ancient past with this slice of new music. 'Faded Corners' features her tradebmark vocals, a textural combination of a far-off call and close-quarters whisper, as they spin words based on 'Asobi wo sen to ya~', a famous poem that was included in the Ryōjin Hishō, a 12th-century anthology of imayō — lyrical poetry that was intended to be sung with music (and dancing).

It's an masterclass in atmosphere-making — the soothing ambient wash of chords, the urgent hush of the vocals — but it's also an excercise in creating a sense of propulsion and a vehicle of dance without actually using a constant beat (aside from the odd deep, bassy thud of a kick). The overlapping rhythms combine to create a complex footwork-adjacent web of energy, extra rhythm provided by the muffled splash of syncopated synth chords.

The stirring strings and plumes of bass, the scratching, glittering, richly textured soudscape reflects the violence and beauty that comes with the preservation of ancient culture through the centuries. Pages tear, fires burn, people forget, and yet scholars record, artists revive — marvellously mirrored in the dense yet flighty crescendo of 'Faded Corners', like a sky ripped asunder.

The single arrives with bonus remixes. Flau label boss aus takes the track to the boundaries of a frosty realm in his 'reprise', waves of ambient synth washing through a minimal landscape with cascading clusters of bleeping synths and snippets of harsh noise, ending with intense destructed glimmers of sound.

Elsewhere there's a chilled, almost New Age vibe to the remix by Korean duo Salamanda, complete with slow, deeply blooping drums spinning a relaxed groove. Melati ESP, on the other hand, makes things propulsive with a bouncing beat and tropical approach to its bubbling collection of iridiscent synths.



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Saturday, 30 December 2023

🔮 IN NO PARTICULAR ORDER: AUS'S TOP MUSIC OF 2023

Tokyo-based artist aus, aka the human producer, DJ and label owner Yasuhiko Fukuzono, has had a busy 2023. "I've hardly been able to catch up on this year's releases," he says. That's probably got something to do with the fact that, for the first time in a few years, he released a new album under his musicmaking moniker.

Titled Everis, and joint released by UK label Lo Recordings and his own (that's flau, by the way), the album was made "in an empty nest" — a labour of love having lost recordings, data and even equipment. "I made it trying to reconnect with my memories from the videos and recordings left on my phone," he says.

The result is a cinematic, emotive release that feels part nebulous lovesong, part Gold Panda. Everis was followed up later by a remix album, Revise, which features reworkings of Fukuzono's original tracks by the likes of Grantby and Patricia Wolf. Next year will see yet more aus music, with an EP and album in the works, as well as more flau releases. "I have a lot of projects in the pipeline at the moment," Fukuzono says. "I'm not going to stop with just this year."

One of these releases, appearing just a few days ago, is a collaboration between Fukuzono and guitarist and actor Ryosuke Nagaoka. Titled LAYLAND, the collaborative release is a cocktail of crafted experimental beatscapes and improvised guitar odysseys. As an aside, Nagaoka is played the titular role of ancient strategist Zhuge Liang (shoutout to all the Dynasty Warriors fans out there) in a live-action adaptation of the manga Paripi Kōmei.

But on this note of hoping for a nice and busy 2024, not to mention a successful one, we're very happy to introduce aus's top music of 2023, looking back over a year of lounge-laden funk, delicate dream pop, and everything in between. Though admittedly being in a constant state of discovering and buying years-old releases, fresh new music nevertheless made its way to Fukuzono: "These are some of the great songs I found this year." Read on ☟

Maxine Funke – River Said

Yasuhiko Fukuzono: Wonderful singer from NZ.


'River Said' is the title track from the singer-songwriter's April-released album.

Sven Wunder – Take A Break

YF: Music genius.


Taken from Stockholm-based composer Sven Wunder's September-released album, Late Again

Virginia Astley – The Singing Places

YF: Surprise of the year.


Taken from English singer-songwriter Virginia Astley's 2023 26-minute, one-track release The Singing Places.

Charif Megarbane – Pas de Dialogue

YF: Genius.


This track appears on the 2023 album Marzipan by Lebanese composer, musician and producer Charif Megarbane. It is the first full contemporary release by Berlin-based label Habibi Funk.

John Beltran – As the Sunsets

YF: He made a remix for me, all-time wonderful.


Beltran remixed 'Landia' on Fukuzono's 2023 Revise, the remix follow-up to his sparkling release at the start of the year, Everis. 'As the Sunsets' appears on Beltran's limited edition 7" Back To Bahia Vol. 3, released by Detroit's very own record shop-meets-wine bar label, MotorCity Wine.

MSD Elementary Music Class – Happiness Runs

YF: Just found from Bandcamp searching, so so lovely.


Performed by the children of MSD Elementary Music Class for their album What's That Sound? (which also includes a cute rendition of 'Let It Be').

Theo Parrish and Maurissa Rose – Spiral Staircase

YF: Always great!


Taken from Free Myself, the collaborative album between Theo Parrish and Maurissa Rose

Hazel English – There She Goes

YF: I love the original, so I love this too of course.


This is a one-off cover by Australian-American artist Hazel English of the 1988 classic 'There She Goes' by English band The La's.

Purelink – 4k Murmurs feat. J

YF: One of the few electronic ones I listened to this year.


This dreamy track is from Brooklyn-based Purelink's September album Signs.

a.s.o. – Love In The Darkness

YF: Reminds me of Seely.


'Love In The Darkness' is taken from Berlin duo a.s.o.'s debut self-titled album.

Ana Frango Elétrico – Electric Fish

YF: Gives big energy.


'Electric Fish' is from the album Me Chama De Gato Que Eu Sou Sua by Rio de Janeiro's very own Ana Frango Elétrico

Photography by Neon Bunny



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Wednesday, 28 April 2021

CRYSTAL — PHANTOM GIZMO

CRYSTAL — Reflection Overdrive

⌾ LISTEN PHANTOM GIZMO BY CRYSTAL ⌾

CRYSTAL’s music always feels a little bit like constructivist art: A red triangle here, a blue square there, a black squiggle or two, all set in arrangements of bold, jagged simplicity. Accordingly, that’s how ‘Phantom Gizmo’ erupts into view, unfolding rapidly with staccato orchestra hits like a transforming robot. A collage of beats like crazy scaffolding waltzes throughout; MIDI bass (composed by Stephen Bruner, aka Thundercat) pops and gallops.

But the Tokyo-based duo (Sunao Maruyama and Ryota Miyake) elevate the track into something more than its vital foundations. Though synth stutters and the heavily vocodered vocals keep some parts lively and minimalist, other sections of ‘Phantom Gizmo’ seem to soar into the sky, the blocky buildings of the bass and beat immersed in pastel fog and indistinct video game visions. Cue virtuoso leads wiggling into through the soft-yet-hard space of the song with all the joy of an artist’s paintbrush.



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Tuesday, 27 April 2021

KIWOKUZA — 茶摘み


⌾ LISTEN TO 茶摘み BY KIWOKUZA ⌾

A tumble of beats gallops at the heart of ‘茶摘み’ (Chatsumi; “tea picking”) by Tokyo troupe Kiwokuza. This kinetic foundation is perfectly complemented with a collage of synth: ebbing, electric chords, bouncing mid-level pops, rapid-firing trickling synth, soft melodies. The vocals also play a part in the track’s forward motion, wordless syllables keeping syncopated time.

But the vocals, or rather the lyrics, play a deeper part than their role in the rhythm section; as with many of Kiwokuza’s songs, ‘Chatsumi’ is a reworking of a folk song of the same name, bringing the unknown composition squarely into the modern day.



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Saturday, 17 April 2021

KUMI TAKAHARA — TIDE

Kumi Takahara — See-Through

⌾ LISTEN TO TIDE BY KUMI TAKAHARA ⌾

In ‘Tide’ Tokyo violinist and composer Kumi Takahara creates a thick soundtrack to a marine sunset. Violins glisten in playful counterpoint, piling in layers that crescendo in a tumult of colour, orchestral and expansive: clouds sprayed across the sky in kinetic whisps, tinted by evening light.

Columns of sound rumble below, a sombre and subterranean like something unthought of weighing on your mind; on the surface, one violin soars into the air, and later another. And as well as the strings, Takahara's voice lilts throughout adding yet more humanity to a piece of music already powerfully human.

Featuring production from aus. (Yasuhiko Fukuzono, founder of flau records), ‘Tide’ is held in place and time with the sound of waves, natural bookends, starting tranquil and ending in a shiver of dusk and leftover emotions — shreds of gleaming unknown sound, the afterglow of the giddy fugue that shines brilliantly at the centre of this composite epic of a song.




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Thursday, 10 December 2020

CUUSHE — EMERGENCE


⌾ LISTEN TO EMERGENCE BY CUUSHE ⌾

It’s Cuushe, but not as you’ve ever heard her. In ‘Emergence’, the Tokyo singer-producer is at her most dancefloor ready. The beat shuffles with insectoid intricacies and thumping kicks, the synth looms laid-back and lounging, nocturnal piano drip-drops in with icy gloss.

Cuushe for a long time has been classed dream pop, but the garage-influenced beat and the strength of her mantra-like vocals launch ‘Emergence’ to a darkly effervescent realm of groove — for example, the sleek, solely instrumental outro conjures a futuristic take on the Streets of Rage II soundtrack. What could be dreamier?


  • 🔔 'Emergence' is taken from Cuushe's forthcoming new album Waken, out now on flau. Purchase it at the flau bandcamp.

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Friday, 16 October 2020

CUUSHE — MAGIC


Cuushe is back. Recently she announced her upcoming album WAKEN via the fresh vitality of its first single, 'Hold Half'. This time around, it's 'Magic' that faces up to the grey piercing light of morning.

A slow steamroller of a beat thuds as the propulsion to 'Magic', rusted metallic percussion ticking faintly at its mechanical heart. A set of heavy-hearted piano chords plays a downcast reverb-laden refrain; "I just wanna die.." Cuushe's voice whispers from this fog of sound. Craggy synths crack in mournful reply, a glistening gloomy call-and-response.

Starting quietly, almost from another perspective, later in the track her vocals rise up, outraged: "Magic... Why are you so silent?" A question perhaps posed to the once-dreaming individual now scrutinised by reality. Lightness eclipsed. This refrain cuts through a wash of intense sounds, synths glittering and roaring together with the clatter of a bright guitar riff — a combination of playful concreteness and fantasy synthetic noise that runs through 'Magic'.

It's all been brought to life with a video by director Tao Tajima. On a backdrop of footage filmed in the wilds of Tibet, it's a tale of ghostly girls tied with string to insistent flapping birds, drawn in their phantomic pastels by sometime Cuushe collaborator Yoko Kuno. The music — mysterious yet methodical in its makeup — matches the stark marching mountains and vast empty tundra.


  • 🔔 'Hold Half' is taken from Cuushe's forthcoming new album Waken, set for release 20th November on her label home flau. Pre-order it over on the flau bandcamp.

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Tuesday, 22 September 2020

CUUSHE — HOLD HALF

⌾ LISTEN TO CUUSHE, HOLD HALF ⌾

In a scramble of beats, a festival of lights, Tokyo-based musicmaker Cuushe introduces her new album, Waken. Drums and synth explode triumphal in 'Hold Half', a twisting number that balances its way between these sonic fireworks of crashing cymbals and sun bursting over the horizon brilliance, and quieter moments of pinging icicle guitars and soft watercolours of sound, an early hours out of body experience.

It's all brought to life with a sudden alarm clock saw wave buzz, the moment of awakening. Cuushe's vocals drop in, slow, vital, trance-like, somewhat obscured by the same whispering ambience that has always made her voice unique. Less faraway and somnolent than on previous releases, Cuushe's voice this time cuts through the music like wings through cloud.

And there is this sense of flight in 'Hold Half', at least that of floating, being airborne. Looking down on all that's come before, Cuushe joins her track as it heads towards the cold pastels of dawn.


  • 🔔 'Hold Half' is taken from Cuushe's forthcoming new album Waken, set for release 20th November on her label home flau. Pre-order it over on the flau bandcamp.

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Monday, 15 June 2020

WAKON — TOKYO IS DYING

⌾ LISTEN TO WAKON, TOKYO IS DYING ⌾

— Painting a picture of simultaneous fatigue and excitement —the shuffling fluorescent tunnels and dead-tired eyes of train-riders twinned with the entertainment, the frenetic streets of clothes, faces, skyscrapers, shopfronts lit with light — 'Tokyo Is Dying' by WAKON is an apt soundtrack for a city that is two cities: business and pleasure.

As the Tokyo duo's house-tinged track rattles on with a mechanical rattling industrious beat, looped samples warp in and out of earshot like a reflection of the Japanese capital's day-in-day-day out feeling. But more than this propulsive flow, there's a collage of colour in 'Tokyo Is Dying' that, despite the title, infuses optimism and vitality into the metropolitan malaise of the track.

Speaking about the track, WAKON put forward this mission statement:

"Tokyo is dying. Having gone through 30 years of economic stagnation, Tokyo is still fettered by commercialism and globalism, and repeatedly destroyed and created anew. Nature, culture, tradition, scenery, sentiment, humanity, affection, and laughter disappear day by day. Music is no exception."



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Tuesday, 12 June 2018

🐣 LYCORISCORIS — FLIGHT

Bustling and crackling with organic buzz and with a heartbeat thudding like the constancy of living and breathing against the melancholic backdrop of the ever-shifting seasons, the rising strings all emotive and tear-jerking, a never-ever feel to it, a will-I-ever feel to it (a la Jon Hopkins) this is Tokyo-based Lycoriscoris aka real life human Yunosuke Senoo. The motion of it suits the name 'Flight', but other than the clear image of something literally flying, what else do we have here?

Well, with its trickling percussion like icicles melting, and the frosty frosty touches of piano sparkling like sun on snow summons a stark landscape, wintry, but with the hope of spring and summer on the horizon, the rising nature of those strings are like the possibility of new life; a mix of depression and hope, it charts the cusp of the year where life teeters between holed-up against the snow and taking tentative steps below freshly unfurling leaves.




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Friday, 26 January 2018

🐣 MEISHI SMILE, LLLL & U-PISTOL — ALWAYS FEAT. CALENDULA

We heard from a pairing of Tokyo producer LLLL and Manila-based artist U-Pistol quite recently, on the happysad trance-pop-gaze of 'Falling', but now the musicmaking team extends, including Zoom Lens label boss Meishi Smile as well as sometime vocal collaborator Calendula lending their voices to a brand new song: 'Always,' — with a comma, like an unfinished sentence, the miasmic spirit of it hanging there unformed, waiting for the right words to emerge.

From the extensive introduction – a building of excitement with twinkling lights (reminiscent of the marimba arpeggio on The Who's 'Baba O'Riley') above a propellant house beat, exploding into the spaced apart synth chord hits synced with the drums this triumphal showstarting prelude quality to them – from this a spark for the rest of the track is lit.

Calendula's vocal sings quietly but swims in close-to-your-ear intimacy, vocodered layering courtesy of Meishi Smile giving the lyrics a futuristic feel, a sense of distance that fits the lyrical content of two people grasping at mirages of each other as they drift apart in their relationship, the present hammering down in the crashing snares of the beat; U-Pistol's vocals croon the story in juxtaposing upbeat pop fashion: "Slowly we've become two entities / used to be as one, which was you and me."

The track goes through a zippy synth solo, a progression that oozes positivity, heightening the feeling of this song as something "happy", the glitter and soft focus of a cherished memory, before reaching its coda; everything quietens down, the chords summon this sunset melancholy, the happiness of knowing that it happened, looking back, twinned with the all too real feeling of loss. It is romantic, sentimental, looking tentatively ahead, evocative of days gone by, the closing credits of your life.


GO TO SPOTIFY AND STREAM THE TRACK AND ALL THE REMIXES OF IT* BY CLICKING THIS HYPERLINK

  • 🔔 The track is out today (!) on a partnering of Zoom Lens and Maltine Records. *It also comes with remixes by: Kristofferson (slow gossamer synths and bass above a house beat in a nebulous reworking); パソコン音楽クラブ (a synth heavy remix with a barrage of footwork-ish beats bumping the track along); ANAMANAGUCHI (faithful to the original, though even more a pogosticking dancefloor of noisy pop); Yoshino Yoshikawa (hefty and cute at the same time with clonking percussive elements and a tumbling beat); Sayohimebou (clattering experimental breakcore remix that fulfils our desire for speed and noise and glitch). Purchase it all as a nice bundle over here.
  • 🔔 The artwork for 'Always' was created by FANGRRLZ, and it really evokes not only the spirit but the content of the song: with melancholy yet neon lighting it reflects the bittersweet feeling, the setting of the Japanese train with its sort of end-credits placement, the way the couple sits in different positions facing away from each other, their face sadly reflected in the windows of the train. Plus an easter egg—the Maltine logo as a sticker stuck below the seat on the right; and the girl is wearing a Zoom Lens badge. It's perfect.


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Friday, 12 January 2018

🐣 LLLL — FALLING FEAT. U-PISTOL

Shoegaze guitars stab out staccato patterns in this latest one from Tokyo musicmaker LLLL, 'Falling', a catchy cavalcade of sound that mixes those chorused guitar chords with the piercing neon ice of trance synth, and elements of pop rain down like little gemstones: the uptempo beat and its rollicking tom fills, the breezy chord progression, and not least the vocals of featuring artist U-Pistol.

Also known as Moon Mask, and previously making music under the name Ulzzang Pistol, the Manila-based producer and singer-songwriter sings with mellowed emotion, his voice crooning and fresh. He spoke to us above reverting back to his original moniker: "U-pistol still means Ulzzang pistol," he told yes/no. "Ended up shortening it because the term confuses even the people who are familiar with it. I think shortening it makes it easier for everyone to approach but the heart and meaning of the name still lives on."

His voice flows easily in the cold detachment of LLLL's overdriven drums and spectral javelins of synth, weaving warmly in and out of the sorrowjoy crush of this trance-pop-gaze cocktail, joining with the '80s flavour guitar and cinematic composition of the track to give it its lovable human heart; guitar solo at 2:47 screams virtuoso fire, emphasising the speed whilst contrasting the pop-ness of this track, echoing its title and the frustration of being in freefall.


  • 🔔 'Falling' is out today on internationalist label Zoom Lens. You can grab it here.
  • 'Falling' is taken from LLLL's forthcoming Chains Phase 4, part of his 12-month-long "Chains" project, in which a new "Chain" will be released each month, split into 4 individual EP releases courtesy of emotive electronic label ZOOM LENS. Chains Phase 4 is out 28th February.
  • The artwork was created by Brenden Savi, and reflects the twisting icy tumult that erupts almost chaotically throughout the track.
  • 🔔 Back in the early days of yes/no we received a lovely guest mix from Ulzzang Pistol, representing a cluster of Manila music talent: here is YES/NO GUEST MIX 014.


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Tuesday, 9 January 2018

🌏 VISITS TOKYO — ON THE TRAIL OF MIKAO USUI'S GRAVE

A day or two into our big Japan trip we received a message. A relative who is trained in Reiki healing had heard of our travels and wanted to see if we could do something for her. The message read a little like this:

"Are you in Japan now? I wonder if you can find the founder of Reiki's grave before you leave Tokyo, he is buried somewhere but I do not know where. If you find it will you pay respects for me?"

The message came to us like the ghost that suddenly follows you around in Zelda: Link's Awakening, and only disappears once you find the old house by the sea and then take it back to its grave (spoiler—sorry).

We had a couple of free days left in the city and decided that finding the grave might be an intriguing adventure. The hunt was on. But this was not our pilgrimage and we really had not much more than an vague idea of what Reiki stood for. More interested in exploring parts of the city that we may've otherwise missed, we set off one cold January morning in search of the final resting place of Miako Usui.

We found warmth in a the lung-drenching smoke filled section of the Excelsior Caffe in Sasakua station. The fist place to look was inevitably the internet. A lady had been to the grave and in true brilliant internet fashion had created a step by step map to the grave. Nothing is a hidden secret anymore.

A few metro rides to Shin-Koenji station to where the map led us. We came out of the station and the harshness of the bitterwinter hit our lungs and hurt. This was a local area with bike stands and poodle parlours patterned along small classically Asian lanes. Nothing was unusual or notable about this district and we wondered fleetingly what we were doing here; Tokyo is full of wonders and here we were, iPad in freezing hand trying to find notable points at which to turn left or right.

We had to walk along the wall of the graveyard for a long time and then we turned right and a gate appeared. We'd found a graveyard – this we thought was the accomplishment – this was meant to be the place where Mikao Usui was laid to rest. Clanking old watering cans and wooden buckets were neatly piled in sheds. Big sticks with Japanese wording painted diligently along them in memory of a lost one and graves attended to with the uppermost care.

The rows of dark grey stone felt tall and foreboding. A foreign graveyard, line upon line of graves and no clue which direction to take. The sun was sinking into the horizon and it was getting colder, our breath billowed out alive among the company of the dead as we slowly stepped along the small stone pathways, inspecting graves and trying to identify details. Was it this one? This stone looks the right shape. This one has the right characters but not quite.

Then we found it. The jagged shape of the memorial stone stood out and the bold character made sense. This was where Mikao Usui was buried and that message all the way from Somerset had lead us to here. A man came by as we stood. He bowed to the grave, lit an incense stick and took a moment for himself. We busied ourselves in looking at other graves, not wanting to disturb him. He left and went on with his commute home, this act seemed so normal to him that it must be part of his daily ritual. We wondered how many people visit this quiet spot in a big city to pay their respects. Buried at our feet was a man who stated a global spiritual practice and had effected many people's lives. His influence was outliving him, in death he continues to reach out with his teachings.

We decided we should find out what the memorial stone was telling us. The large kanji at the top of the memorial reads,

"Memorial of Usui Sensei's virtue."

"He never showed off and always had a smile on his face; he was also very courageous in the face of adversity. He was, at the same time, a very cautious person. His talents were many." You can read the whole translation here.

We left Mikao Usui's resting place and went back along the path we came. Returning to Sasazuka on the metro, back to the city buzz of the city as night fell but we did not leave all of Usui-san there. He came with us in his teachings. Like a key to the next part of the game, an entrance to the dungeon that would lead us to level up.

That night we sat down and wrote a message back to our Aunt:

'I found Mikao Usui's resting place and memorial in a beautiful graveyard and stood for a while and thought about his teachings.
Don't anger
Don't worry
Be thankful
Work hard
Be kind
Thank you for leading me there.

REBECCA ALICE SAUNDERS
@yesnotravel



All photographs © 2016, yes/no. Please credit if used


Saturday, 6 January 2018

⛩️ VISITS TOKYO — EXPLORING SHINTO SHRINES AND TEMPLES

Shinto spirits are everywhere, everything has a spirit—even in your shirt.
The idea of the Shinto religion could seem abstract and surprising to an outsider, an alien from the West where religion comes in the form of blocky brick buildings and spindly towers of quiet and dust. The West has long lost its Pagan, nature-worshipping routes with the bloody dominance of Christianity forcing out our once ritualistic stonehenge-creating ancestors. Animist beliefs – more about spirits rather than godly figures – still run deep through Japanese culture, encompassing all that is gentle and unique about the island nation. Japan's capital Tokyo is a pulsing metropolis of people, but in quiet, unassuming corners, Shinto Shrines commemorate sacred spaces for the Kami to live.

Religion is still prevalent in the everyday lives of Japanese people; its influence becomes apparent on a short walk along any of the streets of the Japanese capital. In concrete shapes and hollows of old trees, in underwhelming nooks and suburban spaces—these places are often attributed to the worship of the Shinto spirits. Religion inhabits a multitude of spaces in the city and in people's lives. In Japan Buddhism and Shinto are closely tied. As in much of Japanese culture, the Japanese seem to select the best of what they like about other things and encompass it in their own cultural narrative. It is said that Japanese people are born Shinto, marry Christian and die Buddhist, each belief adopted for particular stages of life. The appointing of spiritual beliefs for their purpose in key life events could account for much of how religion is a constant in Japanese identity, woven through the fabric of Japanese life but never dominating. Much like the constant ancestral threat of earthquakes and volcanoes, it is part of the patchwork of its many communities and of the country as a whole. Shintoism was forcibly imposed as Japan's national religion during the Meiji Restoration. Referred to as haibutsu kishaku (literally abolish buddhism and destroy the buddha), Buddhist temples were destroyed, Shinto shrines striped of Buddhist iconography and Buddhist priests rescinded to make way for what was seen as the inherent Japanese religion. This religious reformation – an official policy called shinbutsu bunri (separate Shinto from Buddhism) – was a way for the Meiji government to enforce control over all of Japan, by implementing a Japanese mindset in politics it was able to carry out policies in its favour. Shinto became closely tied to the emperor Meiji as he imposed himself as a deity, a descendant of the Shinto sun goddess Amaterasu and to the Japanese ultranationalism that shaped the era and ultimately the course of history. Shinto became the backdrop upon which a powerful pantheon of devotion to Kami, ancestors and loyalty to family and nation was established. Shintoism became less of a religion and more of a nationalistic mindset: a way of life.

The emperor Meiji's impact on the Shinto religion is lasting. His own shrine, the Meiji Jingū, is set in woodlands next to Yoyogi Park in the Shibuya district and was posthumously built as dedication to him and his wife. Building the shrine was a national project with trees from all over Japan planted in the grounds and was held in high esteem by the government: it held the first rank of government-supported shrines until 1946.

Another important sacred sight in Tokyo is Sensō-ji, the oldest Buddhist temple in the capital. The temple grounds have been a place of religious reverence since 628 when two men fished an image of the Bodhisattva Kannon out of the Sumida river and founded a temple dedicated to her worship. The Shinto shrine Sanja-sama shares the temple site and is dedicated to the men who founded the temple. During the Meiji era the Buddhist temple was downgraded and the area in Asakusa was developed to become a park and an entertainment district—more red light than a religious site. The Shinto shrine that shared the temple grounds continued to be seen as a place of importance for visitors however, and today both temple and shrine along with the famous Nakamise-dōri shopping street – together with the Meiji Shrine – make up the most visited spiritual sites in the world (2012). Aside from the circus of shopping and selfies that leads up to the temple grounds the area is still very much part of what makes up the Japanese idea of religion. Shinto and Buddhism may be closely entwined in Japan today, but the difference in the two is notable in comparing aesthetics: Buddhist decorations border on gaudy in gold and opulent fabrics, rendering a stark contrast to the stripped-back details of Shinto which has a focus on nature, neutral colours and organic materials.

Core to the Shinto belief system is the idea that everything is alive and has a spirit and is related. The kinship to the land and nature is significant when it comes thinking about the 'Japanese aesthetic'. Japan's famously minimal, practical design is dignified with simplicity and strikingly resonant of the Shinto habit of cleanliness; when entering a shine one must first wash their hands and clean their mouth. The partnership with nature is beautifully obscene: deep in the wilderness and down the back alleys in cities, nature is obsessively nurtured and enticed into modern life. There is, after all, a Shinto spirit for everything, which is why spirit houses for Kami can be seen embroidered across cities and in towns, in villages and up the tops of mountains.

"The best explanation I can offer is that the Shinto shrine is a visible and ever-active expression of the factual kinship - in the most literal sense of the word - which exists between individual man and the whole earth, celestial bodies and deities, whatever name they be given."
Jean Herbert, Shinto, At the Fountain-Head of Japan, 1967

We visited Takao-san on our fourth day in the country, a mountain on the outskirts of Tokyo's urban sprawl. The mountain is home to a Shinto-Buddhist temple where visitors pray to mountain gods for protection from the impish Tengu who frequent the mountainside—praying for protection against them also brings good fortune to the worshipper. Our climb to the summit of the mountain was invigorating after a few says in the city. Takao is part of a designated national park and when we visited in January it was white with the first snow of the season. The pale powder illuminated the ground and elegantly exaggerated the delicate details of nature surrounding us. We caught sight of our first ever icicle on the way up, the winding path was busy with older, genki Tokyoites out for the day with their friends, and groups of salarymen impressing potential business partners with a visit to the shrine.

We took some time out to take part in prayers at the temple, throwing coins, clapping and bowing in the Shinto tradition. A company of Buddhist monks moved past importantly as if a single entity. After the temple there is a short hike up some slippery steps to the summit. With a clear view of Fuji-san on a good day, it seemed only right that this was a place for religious contemplation in the fresh air of the pines. Looking out across the horizon, we watched the small birds and the people eating their bentos. If Shinto spirits are a thing, this is where they would live.

The concept of the Shinto religion was bought to us in great gentle clarity when we got chatting to a man in a park in the heart of the city. Tanaka-san was a kind, older man who has spent his life teaching music to students who were willing to learn, but who couldn't give him the lasting human relationships he so clearly yearned for. We sat on the edge of a concrete flowerbed in the park, children played and people all around were enjoying the fist signs of spring. He asked us about why we had come to Japan and all of the other normal questions that Japanese people often ask outsiders to their land. There was a tender kindness to his manner and we got to chatting about Shinto. He attempted to explain the concept to our blighted western minds, grabbing at his shirt and saying "Shinto, for Japanese people is spirits everywhere, everything has a spirit—even in your shirt."

Tanaka-san's understanding of Shinto put our minds into a spin and has stayed with us ever since. Contemplating his bold statement, we realised this wasn't a religion of rules or consequence but instead embodied a delicate understanding of the connection we have to our environment and everything that makes us what we are. Instead of being singular bodies of sentience moving along our own pathway on this planet, being condemned for this sin or that, we are all the consequence of each other and everyone, everything, is to be respected. Memories of half-watched Carl Sagan documentaries hazily swam through our mind, "we are all made of star stuff" – his long and lazy voice repeated between our ears – maybe we really are all everything and we are all connected.

REBECCA ALICE SAUNDERS
@yesnotravel





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