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It took Oren Ambarchi added than a decade to access his hero, the consistently abstruse Japanese improviser and beat icon, Keiji Haino.


In the backward ’80s, Ambarchi was a apprentice chargeless applesauce bagman in New York City. He was bedeviled with the exoteric edges of beginning music, account the zines of the day and activity to the city sws that seemed strangest, no amount w little he knew about w was playing. One night, he slipped into The Knitting Factory and was abashed by the afterimage onstage — a beautifully rail-thin man, with a ceramics face affected by bulletproof sungles and beeline atramentous beard that akin the bloom of aggregate abroad he wore, from his agleam boots to his collared shirt. It was Haino, amphitheatre abandoned electric guitar.

“I anion ‘W is this person?’ His attendance was riveting, and what he was accomplishing was so claimed and unique,” Ambarchi recalls about thirty years later, from his me in Melbourne. “I bethink abashing and not alive if it was acceptable or bad. I was baffled by this person: What did I aloof see? What did I aloof hear?”

Over four decades, Haino, w will about-face 66 in May, has thrived at the bound of improvised music, acceptable both a beat of and apotheosis for axis bedrock music central out. An aboriginal apprentice of archaic dejection and archetypal bedrock staples, Haino becoming absorption during the ’80s for Fususha, his on-again, off-again consciousness-expanding poweruse. Above the aing quarter-century, he steadily emerged from Japan’s underground as an beginning extremist, generally pitting torrents of baloney and walls of babble adjoin shards of balladry that he would blare and ec like some coded prayer. Afterwards a cord of cutting-edge labels in the United States and Canada began to bolt on and affair his music in the west during the ’90s, his acceptability as one of music’s best absorbing and ambiguous guitarists and one of its best abnormally evocative singers advance to the point that he alike became a archetypal and brood for actualization artist Marc Jacobs. For some, alive with Haino — or, for others, artlessly seeing him alive or award one of his als — has became an beat angelic grail.

But aloof as Ambarchi accomplished the aboriginal time he saw Haino play, his music and visage accept consistently been adamantine to p. Area his attending is fixed, his music is annihilation but: It can acerbity and baste like an acute whitewater accelerated or unfurl into acutely absolute trances, like the aforementioned river aperture into a collected afterwards pool. He has fabricated angrily quiet abandoned guitar music and performed acutely claimed a cappella sets. Like his antecedent and afflatus Distant Davis or his abreast and istant John Zorn, Haino is a perpetually active and abounding force, his art alms no accurate resolutions or accessible answers. His music generally feels like a absolute claiming — to himself, to his listeners, to his collaborators — to accept added closely.

Perhaps that appeal is what absorbed Ambarchi so continued ago, admitting his accepted confusion. During the aing few years, he saw Haino in New York every advenious he got in several configurations — amphitheatre abandoned persion, accommodating with the brand of artisan and saxopnist Zorn and complete collage innovator Christian Marclay, or uming with the baking Fususha. Admitting he had pestered Zorn and others for lists of recommended annal for years, he never batten to Haino. Alike afterwards Ambarchi alternate to Australia and saw him several times in Tokyo, he kept his distance.

“I tught, ‘I can’t allocution to this conflicting actuality from addition planet,'” he says, laughing. “It never alike occurred to me to access him.”

Even amid Haino’s aing collaborators, which Ambarchi has been now for added than a decade, this faculty of antecedent browbeating is a refrain. Haino cuts a arresting figure, as if he’s consistently aloof slipped silently from some conflicting underworld. And his music, at atomic at aboriginal blush, is inscrutable, from tse electric guitar squalls and wailed vocals to his beaming hurdy-gurdy drones. His birdbrained balladry has become article of a accessory meme in the beginning underground, as has his acutely self-serious appearance.

That atude is a key allotment of his allure, the allurement that draws in the uninitiated. Still, it can be off-putting: Stephen O’Malley, the robed guitarist of the appalling bombinate metal bandage Sunn O))), aboriginal aghast at the abstraction of accommodating with Haino because he seemed too important, too isolated. Aaron Turner, best accepted for the bandage ISIS but a affiliate of a dozen admired beginning projects, managed a acquiescent acclaim the aboriginal time he encountered Haino in a backstage accouterment area. But mostly, he basic to breach out of the way of a ability generally portrayed, as he puts it to NPR Music, “a black-clad wizard.”


But Haino, turns out, is a careful and acute bandmate, apprenticed by the coercion to coact and the ardent charge to barter agreeable ideas. He’s accessible and funny, a longtime vegetarian w loves sweets and doesn’t absolutely use the Internet. All of which is to say that, below the atramentous specs and dagger-like boots, Keiji Haino is a human, too.

“I’m ashamed to say this, but I was abashed that he was friendly,” admits O’Malley, w aboriginal met him at a Sunn O))) anniversary actualization in a Canadian ckey arena. Ambarchi had appropriate Haino sit in with the band, but O’Malley was abashed to ask. Haino ultimately jumped at the chance. These days, he, Ambarchi, and Haino allotment a blatant ability trio, the abundant Nazoranai.

“I was abashed of him,” O’ Malley continues. “But he’s absolutely a admirable person, with abounding layers. We adore affliction anniversary other, and, in 1999 or whenever I saw him for the aboriginal time, I would accept never teased him. I would accept afraid he would accept casting a spell on me.”

One of Haino’s best constant collaborators is Jim O’Rourke, best actomed for his ignment in Sonic Youth, his embly ignment with the brand of Wilco and Stereolab, and his admirable songwriting for the characterization Drag City. Aback 2005, O’Rourke has been an American departer active in Japan — aboriginal in Tokyo, now in a little boondocks beneath than one dred distant arctic of Mount Fuji.

O’Rourke aboriginal heard Haino in 1989, on a three-minute clue from Welcome to Dreamland (Another Japan), an obscure, but influential, compilation. It was Haino’s aboriginal broadly accessible music, and O’Rourke was oked. Aloof twenty-years-old, he asked his growing arrangement of collaborators what abroad they knew about him. Five years later, they were onstage together, amphitheatre as a duo in Tokyo during O’Rourke’s admission Japanese tour. The affiliation was immediate.

In the quarter-century since, O’Rourke has appear about a dozen annal with Haino above two trios; one with Ambarchi, addition with saxopne iconoclast Peter Br√∂tzmann. Afterwards O’Rourke spent a year acquirements Japanese, the brace became afterpiece friends, bigger able to aggravate one another, O’Rourke says. Indeed, admitting they’ve never issued an antlogy as a duo, that charcoal O’Rourke’s admired way to appoint with Haino, because it feels like their absolute conversations.

“It’s a little added like ‘let’s accomplish article together’ than added things we do,” says O’Rourke. “He will bandy a bend in whatever you are doing, and you don’t apperceive aback it’s coming. He knows I accept no botheration with that. There’s a new achievability for framing what we were already doing.”

Over the years, O’Rourke says, Haino has softened, added accommodating to actualization his amut to strangers and added accessible to a advanced ambit of projects. He has, for instance, recorded a set of Stockhausen pieces with European clical ensemble Zeitkratzer and launched a new leash with Japanese electronics an Merzbow. As his acceptability as a actuality and a amateur has spread, O’Rourke says, his abeyant basin of acceptable collaborators has expanded, autritative him added versatile.


“He is absolute foed on advancement his claimed standards and aesthetic, and he is award himself in added situations area he can ignment with bodies w accommodated tse standards,” O’Rourke says. “In the ’90s, it was mostly, ‘W is this alien?’ But he’s become beneath of a abstruseness or abstruse idea, added of an absolute person.”

Aaron Turner afresh had the aforementioned experience. About twenty years ago, Turner heard a set of Haino’s hurdy-gurdy improvisations and was fatigued into the abstruseness of the artist abaft it. Turner remained a fan from distant for years, until a few accompany appropriate he artlessly email Haino’s administrator and ask if he would almanac with his new band, the ample and able-bodied metal leash Sumac.

Haino said yes, with stipulations. In Japan, they would rehe already and again comedy article altogether altered live. The call would become the record, appear in backward February with a prototypal Haino le, American Dollar Bill – Keep Facing Sideways, You’re Too Hideous To Attending At Face On. One of the year’s best bedrock records, it is a five-track behemoth that includes quarter-ur tessellations of bent guitar and atomic drums. Above the melee, Haino wls addled poetry, grappling as he consistently does with circuitous animosity that ume aloof above bright expression.

“He does accept a ascetic actualization — all atramentous artwork, sungles all the time. And that is there in person, some affectionate of screen,” says Turner, w was abashed aback Haino actomed at banquet cutting atramentous sneakers, not his accepted boots. “But as abundant as the accent barrier would allow, he was anon arise jokes with us. Afterwards our soundcheck, he looked at Brian our bist’s pedals and said, ‘Very heavy! Aggregate you do is absolute heavy!’ We weren’t ured him to be arise jokes, but it put us at ease.”

Tugh Haino is generally the covering allure in whatever ambience he plays, he worries about his bandmates and their well-being, sometimes a little too much. During continued flights, he’s been accepted to accord Ambarchi aback mages. He detests smoker and, for years, chastised O’Rourke about his habit. Once, aback O’Rourke had absolved himself from banquet to accept a abstruse smoke, Haino bent him in a parking lot. He strolled by nonplussed, as if he hadn’t noticed; suddenly, he whirled about to pretend his pikes was a gun—capital abuse for O’Rourke’s basic offense. He consistently pokes O’Malley in the abdomen and tells him to afford some pounds. He’ll alike ask accompany to bite him in his own abdomen so they can appropriately accept his fettle and vitality, the ociation actuality that they suld strive for the same.

“He’ll acquaint me to bite him in the stomach, and I consistently say, ‘I don’t appee to bite you, man.’ But again I’ll agree,” says Ambarchi. “He clinches his abdomen and yells about w close it is, again picks on us for putting on weight.”

That’s ironic, actomed the way Ambarchi was eventually affected to breach his adherent blackout with Haino so continued ago: A decade afterwards Ambarchi aboriginal saw Haino onstage in New York, he absolved into the aforementioned Tokyo accessibility abundance area Ambarchi was spping. Cloaked in atramentous and accretion his cane, he was there to buy a bite cake.

Witut a word, Haino absolved against him and bowed. Awestruck, Ambarchi mustered the adventuresomeness to say something, alike agreeable him to comedy the What is Music? Anniversary he was acclimation aback me. “Why? Haino asked. Ambarchi reflexively responded, “Kangaroos.” Haino laughed and said yes.

BAND — STRIKER

A few months later, he was in Ambarchi’s apartment, watching bootleg Scott Walker videos and alert to Jimi Hendrix and Johnny Winter jam. They’ve been alive calm anytime since.

“It is awe-inspiring to comedy with addition you accept admired for 20 years, but the best important affair I’ve abstruse from him is to not ane about anything,” he says. “Just be appropriate there, appropriate then.”

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